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

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Fri, Apr 5, 2013

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OPENING TODAY
LEAVING IOWA by Tim Clue and Spike Manton, at The Dayton Theatre Guild.

Click here for the Leaving Iowa podcast.



Mon, Apr 8, 2013

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CATCH UP
So there have been a couple recent posts in the technical sense, but nothing actually chronicled. Been a bit busy. So here's the scoop (for whatever any of it is worth).


WRAPPED FOR THE SCHOOL YEAR:
U.D. Law - University of Dayton School of Law icon

This weekend were the concluding three court sessions of the medical malpractice exercises for a tort law class. I was Dr. Lauren Hill, the medical expert in emergency medicine for the defendant, Dr. Hill who testifies as to the defendant, Dr. Christine Read's, meeting the standard of care. Dr. Hill was convinced she met the standard; I am not so sure, which, I suppose is good, only because I know my Hill came off as convinced he was right.

This was a bit of a lighter year for me in terms of U.D. Law gigs. A few times when opportunities came up I had conflicts. Next year, maybe a few more -- or maybe I'll be so busy with other gigs......


PLAY READING, PONDERING AND TIPS:
THE ACTOR PREPARES ICON
AUDITION ICON

NON-PAYING GIG ICON
--- This weekend (AKA: "last night") I sat down to read Martin McDonagh's The Pillowman cover to cover. Didn't quite finish, but will today and in plenty of time to reasonably prep for auditions tonight.

At first I had almost a tunnel-visioned focus on the character Ariel, one of the two police interrogators. That focus was based on using a monologue of Ariel's during my recent advanced acting class with Kay Bosse at The Human Race Theatre Company. As I knew it might, as I became more familiar with the work as a whole, my interest has widened. I'm essentially equally interested in either police detective, Ariel or his partner, Tupolski. In fact, the latter may be a better fit for me, though I know I can pull off Ariel more than successfully. I also would be open to accepting a role as either of the brothers, though I see me as correct type for neither. I'll list my preference for roles accordingly on the audition form.

PROFESSIONAL GIG ICON
--- Meanwhile, the general auditions for the 2013/14 Human Race season are up in mid May, with May 1 being the day to call to set an appointment. I'm not sure if I am going for musicals this year or not. It's a ponder at the moment. If I do, my one monologue needs to be comedic because, at the moment, my instincts say my best chance at a substantial straight role is for Steve in Becky's New Car. I suppose also Becky's husband Joe. At any rate, in terms of straight plays, I'm guessing if I make the Race stage in a full production, it's going to be in this one. Of course, I'd be open to the second Marsha Hanna New Play Workshops, the play of which I don't believe has been yet announced.

--- I also got a notice about a casting call from a production company that is "producing a prime time docu-series for a major, highly respected cable network" and states they will "use a mix of dramatic scenes, graphics" experts to tell the story of a hypothetical world event. It does look interesting. I received the info independently of any talent agency.

--- As for the recent screentests for movies and commercials: no castings.


SERVE ME:
FOR THE LOVE OF THE CRAFT ICON

On Set icon
As for Greg Nichols' new short-subject horror movie, which features Chuck Larkowski Alex Carmichal, Ayn Wood, and myself, the first day of shooting is still April 22. Greg just sent out what he claims is the locked screenplay.


SUCCESSFUL OPENING WEEKEND:
LEAVING IOWA & Dayton Theatre Guild combined logo.

DTG Producer icon
I was on site both Friday and saturday for the whole performances and the audiences responded well to the show. They found it fun, which of course was the goal. I dropped in only for a few moments, after my U.D. gig, then headed on home. The audience was laughing during my brief visit, so it seems Sunday went well, too.

DTG Podcast Production logo
Of course, the podcast is finished and up, See youtu.be/RmcBZyqFqEk, and, of course, there are a couple dumbassed errors that I will fix and repost to youtube after the show closes. That, only because the url to the podcast is circulated, and the new version will not have the same url. I don't want the confusion out there. I had to do this self-same thing for the Ghosts podcast because of information errors, though that time they weren;t my fault. This time, the errors are mine. I misspelled two people's names. I will fix them, so the archive is correct.


In the audience icon
PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS

There are few productions coming up I want to catch to support friends, as well as see the shows.

  • It starts with the national tour of Mary Poppins, with Tonya Thompson as Mrs. Corry. Tonya was the amazingly lovely voice of The Moon in Caroline, or Change, at The Human Race. Other COC castmate, Saul Caplan and I will see Ms. Thompson this coming Saturday afternoon at The Schuster.
  • Later Saturday I am likely to be at The Dayton Art Institute's NCR Renaissance Auditorium for Zoot Theatre Company's production of Michael Slade's And A Child Shall Lead. Michael is, of course, an acquaintance and a colleague in that I was part of the team that helped workshop Gingerbread Children last month at HRTC. The cast features a few folk I know to one extent or another, including Ms. Heather Atkinson who co-starred with me in Blackbird, two years ago at DTG, Ayn Wood, who is about to be my castmate in the Nichols movie, Darren Brown, who has been a classmate in a couple acting classes at HRTC, Chris Hammond, Michelle Weiser and Juliet Howard-Welch, the three whom I've not worked with but am at least acquainted with from the local theatre world.
  • Retreat From Moscow

  • And I'd like to work in at The Dayton Playhouse, which features past and soon to be (Serve Me) castmate Chuck Larkowski, and also in the cast: Jennifer Lockwood and Matthew Lindsay.
  • Then, Springfield StageWorks opens Othello on April 18. That cast includes Josh Katawick, whom I've shared the stage with, Jared Mola, Mike Taint, Jon Hung, and Amy Diederich, all whom I've worked productions with.
  • There are other productions up, but I just can't fit them in sad icon.



Tue, Apr 9, 2013

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AUDITION ICON
THE PILLOWMAN & Dayton Theatre Guild combined logo.
NON-PAYING GIG ICON

As planned, I attended night number one of auditions for Martin McDonagh's The Pillowman at DTG. I know only four things:

1) competition was strong and only will be so again tonight.

2) I feel reasonably good about my audition.

3) I am trying not to focus on point number one.

4) I am trying not to second-guess point number two.

Neuroses: what fun!


THE BUSINESS OF ACTING ICON
Tax Time skull and bones ICON

Um, let's see. Today is April 9. Fifteen minus nine equals six.

Thus, I have less than a week to get my damned taxes filed.

There have been years when I had my return spent already before April Fool's Day rolled around.

It's the question of finalizing all the records for 2012, most especially tracking back all the mileage....You know: that mileage I had resolved to keep up with keeping track of throughout the year, each instance as it occurred -- which I have been as "diligent" about, thus far THIS year.

Didn't work on it when I got home after auditions last night. Probably should tonight. Certainly will in the evening tomorrow, as I will have a free evening.

Hoping I do NOT have a free evening Thursday, but rather the table read for the latest show I am cast in.



Wed, Apr 10, 2013

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THE PILLOWMAN & Dayton Theatre Guild combined logo.
NON-PAYING GIG ICON
AUDITION ICON
1) See the post from yesterday on this subject.

2) I know I was in some real consideration for a role, but: we'll see.


THE DAYTON THEATRE GUILD 2013/14 SEASON:
Dayton Theatre Guild

There hasn't been a big announcement yet, but we did announce at the opening of Leaving Iowa. There will be more detailed info out later, but here are the shows:

45 Seconds from Broadway, by Neil Simon
Directed by Fred Blumenthal. Runs Aug 23-Sep 8, 2013

Time Stand Stills, by Donald Margulies
Directed by Debra Kent. Runs Oct 4-20, 2013

The Gifts of the Magi, by Coats & Germain -- (The Holiday Extra)
Director to be announced. Runs Nov 22-Dec 8, 2013

The Subject Was Roses, by Frank D. Gilroy
Directed by Marcia Nowik. Runs Jan 10-26, 2014

Expecting Isabel, by Lisa Loomer
Directed by Natasha Randall. Runs Feb 28-Mar 16, 2014

An Inspector Calls, by J.B. Priestly
Directed by David Shough. Runs Apr 18-May 4, 2014

The Dead Guy, by Eric Coble
Directed by Saul Caplan. Runs May 30-June 15, 2014



Thu, Apr 11, 2013

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AND IT'S ON TO THE NEXT AUDITION ICON

The cast of Martin McDonagh's The Pillowman has been selected:

CHARACTER
           ACTOR
Katurian K. Katurian            Patrick Hayes

Tupolski
           Michael Boyd

Ariel            David Hallowren

Michael
           Joseph Risner

A Girl            to be announced



Sat, Apr 13, 2013

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Jonathan Winters, Nov 11, 1925-Apr 11, 2013. One of the truly great comedic minds of his generation and those that followed.




AND CONCERNING ROGER EBERT:
On a Personal Note icon

When Roger Ebert passed, I was too busy to sit down and create a graphic for this, and now that I more or less have the time, I've still decided to not do that but instead just pass on these words, which I wrote when I first heard the news:

Mr. Ebert was a man that I wanted to meet and get to know. He seemed such a thoughtful, gracious and classy human being; I suspect the image was real to the man. His courage in the last decade or so of his life, not allowing his serious physical ailments to hold him back, his refusal to retreat from life, was truly amazing and inspiring. I am sad for his friends and family, and I think our pop culture has lost someone special.

In honor of the friendly jabs these men made at each other on their template program:

      In the great celestial netherworld, Mr. Siskel is impatiently rolling his eyes at all the "Thumbs Up" references that have been made as of late; meanwhile, Mr. Ebert is close by, quietly amused by Mr. Siskel's annoyance.


In the audience - Not in the audience animated gif icon

DOH!
Got my weekends mixed up for Ms. Tonya Thompson's Dayton appearance in the national tour of Mary Poppins as Mrs. Corry. My ticket for the performance at The Schuster is for next Saturday afternoon, not today.

So I take the opportunity today to continue to gather together needed information for my 2012 tax return.

I will see Zoot Theatre Company's production of Michael Slade's And A Child Shall Lead tonight at The Dayton Art Institute's NCR Renaissance Auditorium.

Plus I still plan on seeing all the others I listed Thursday. Not to mention that I'd like to fit in Race, by David Mamet, at The Human Race Theatre Company, if I can.


THE BUSINESS OF ACTING ICON
Tax Time skull and bones ICON

I am right now very unhappy with myself that I once again did not keep up with mileage and expenses as they occurred in 2012!

Another      DOH!
in a most major sort of manner!!



Sun, Apr 14, 2013

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Tax Time skull and bones ICON 750 x 750
MORE TO COME....



AND A CHILD SHALL LEAD AT ZOOT THEATRE COMPANY:
In the audience icon

So I did go to see Zoot's production of Michael Slade's And A Child Shall Lead last night at The Dayton Art Institute's NCR Renaissance Auditorium. Really well-staged and nicely executed show with a touching visual dénouement.

Congratulations to the whole cast and production team. And Congratulations to Mr. Slade, of whom which the word "compelling" seems to be the catchphrase for his work.


SERVE ME:
FOR THE LOVE OF THE CRAFT ICON

On Set icon
Greg Nichols has moved the first day of shooting for his new short-subject horror movie to April 29.



Mon, Apr 15, 2013

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Tax Time skull and bones ICON 750 x 750

DONE



Fri, Apr 19, 2013

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In the audience icon
RACE AT THE RACE:

Last night I saw David Mamet's Race at The Human Race Theatre Company, featuring the fine work of Bruce Cromer, Alan Bomar Jones, Julia Pace Mitchell, and Richard B. Watson.

So. What can I say about Mr. Feel-good, lift-up-humanity Mamet? The characters are always interesting for actors to play. None of the characters in this play are especially valuable toward a successful society, and I'd rather not even share a lunch date with any of them, much less associate with any of them in any meaningful manner. But, they are all great roles for actors to climb inside. And I enjoyed all the actors' work. I have to give a special kudos to Mr. Watson; his border-line spastic Jack Lawson was a lot of fun to watch.


Coming Up!:

Macca, July 14, 2013 ticket receipt and arena chart. Sec 17, row 14, seat number 6.
So, there are a few more performances, theatrical or otherwise, I intend to attend over the course of the next several months, staring this weekend. Some are firm commitments.

  • One is Paul McCartney in concert on July 14 at Bankers Life Fieldhouse in Indianapolis on his "Out There" Tour. I bought the ticket Tuesday morning. Decent seat; steep ticket price.
  • Looking at another concert: Steely Dan. They'll be playing close by in Dayton at the Fraze Pavilion just a few days after McCartney, on July 24, on their "Mood Swings: 8 Miles to Pancake Day" tour.
  • And I'm looking at another Chicago trek to again see William Petersen on stage. This time in Slowgirl, by Greg Pierce at Steppenwolf, which runs July 19 through August 25. Another two actor show; another man and woman; though the relationship is not the same as in Blackbird, at all -- Blackbird being my first attendance at a Petersen stage performance, and a play that then became a great moment, if too short, in my own acting experience.
  • Of course, there is Ms. Tonya Thompson as Mrs. Corry in Mary Poppins this Saturday afternoon at The Schuster. The show opened in Dayton this past Tuesday and closes Sunday.
  • It's probable I'll make The Retreat from Moscow at The Dayton Playhouse, featuring Chuck Larkowski, Jennifer Lockwood and Matthew Lindsay, on Saturday evening.
  • I'm shooting for Othello at Springfield StageWorks during the second week of its run, with me likely in the audience next Thursday. That show has, as I've said before, Josh Katawick, Jared Mola, Mike Taint, Jon Hung, and Amy Diederich, all with whom I've somehow worked in productions, either on or back stage.
  • Of course, whether on stage or not, I'll be at FutureFest 2013 at the end of July.



  • FOR THE LOVE OF THE CRAFT ICON

    On Set icon
    Serve Me -- Auteur Greg Nichols has revised the first day of principal photography for the short movie to Sunday, April 28. I assume I still have a call for Monday the 29th, but we'll see.

    MISCELLANEOUS ICON
    Guest Speaker for a UD Class -- I've been invited to speak in a class session of the continuing education course, "Before The Magic: a Look Backstage," for the Osher Life Long Learning Institute: University of Dayton. The instructor for the class is Jacqui Theobald. Jacqui is a local painter who also writes features about the arts for The Dayton City Paper. She wants me to speak about producing and teching shows at the Guild as well as comparing what I know of the contrast between community theatre and professional theatre procedure. Okay. Well, I know some; but, I bet I know less than Ms. Theobald is hoping for.


    GENERAL TECHIE STUFF ICON
    MOVIE PRODUCTION STUFF ICON

    About a week ago I attempted to copy the raw files for the Leaving Iowa podcast from my laptop hard drive to the first of my two movie storage external hard drives, each being 2 terabytes. I got the message that there was not enough room. The two movie storage drives are redundant; they have the same data, i.e.: one is a back-up. I don't relish the idea of a fatal hard drive failure that renders all my movie production files lost forever.

    Monday I dropped in to the local Best Buy to pick up two new 2 TB hard drives to start what would be the copies of "Volume 2" of movie storage. Instead, I bought two Seagate Backup Plus 4 TB external hard drives. Rather than adding to the movie HD collection, I have replaced the originals. I simply migrated all the files from the 2 TB drives to the 4 TB drives.

    So now I'm a little less than half full on my movie storage drive and its back-up, and I freed up the two 2 TB drives for other purposes. Actually, I already have found an assignment for one of them. I have made the more portable one my new "Time Capsule" -- the designation for an external hard drive used by the Macintosh Time Machine system back-up software. And the 1 TB drive I had been using for that is now my main drive for all my audio files. It's a USB 3 and the disk spin speed is faster than the one I had been using, which was only USB 2. The new one responds much faster to iTunes. The old one is now the back-up. The old back-up is now free.

    So, it's Musical External Hard Drives. Though, honestly, I can't imagine why anyone out there would care about any of this stuff, but I told you anyway.



    Sun, Apr 21, 2013

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    CLOSING TODAY
    LEAVING IOWA by Tim Clue and Spike Manton, at The Dayton Theatre Guild.

    The Cast of Leaving Iowa

    CHARACTER
               ACTOR
    Don Browning            Josh Smith

    Dad            Mark Reuter

    Mom            Debra Kent

    Sis            Rachel Wilson

    Multiple Character Guy            Peter Wallace

    Multiple Character Gal            Ellen Ballerene

    The Podcast for Leavin Iowa


    Tue, Apr 23, 2013

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    In the audience icon

    Mary Poppins at The Schuster -- Saturday afternoon, Saul Caplan and I saw the Disney tour of Mary Poppins, which has featured work from our past castmate, the most talented Tonya Thompson who plays Mrs. Corry and Queen Victoria in the production. To remind, Tonya is a fellow alumnus of Caroline, or Change at The Human Race, where she awed us and the audiences with her beautiful vocals, playing The Moon.

    Just as Tonya was impressive as The Moon, she was just as much so as Mrs. Corry, who is a principal feature in "Supercalifragilisticexpialidocious," of course, one of the signature, iconic songs in the Mary Poppins legacy.

    Tonya was nowhere close to alone in her top-notch work on that stage; the company is most impressive. As I watched the show, I thought to myself, over and over, in varying approaches and couched phrases, something like:

    Oh yeah! THAT'S why I'll likely never be in a show like this -- I absolutely cannot dance like ANY of these amazing tripple threat can!

    I give special mention to Ms. Thompson because of our connection; but I also have to mention the work of Sean Montgomery who played the role of Bert on Saturday. Sean is the understudy, and we found out from Tonya during the dinner, Saul and I took her to, that this was the first time Sean went on as Bert. I gotta tell you, he performed as if he'd been in the role for the whole tour. He had ease and confidence and great chemistry and rapport with Mary Poppins (Madeline Trumble). He impressed me! The coolest moment of the afternoon involved Montgomery, as, with the help of fly cables, his Bert walked up the side of the proscenium arch, then tap danced across the top, UPSIDE DOWN, stopped in the middle to sing, while upside down, then tapped across the rest of the top, then walked back down the other side of the arch. Of course, there is a whole team of people responsible for the gag, beyond the actor who executes it, and he has a stage tech, or more, back there guiding the slack and movement of the cables with great precision. Sean did not do that stunt alone, but think about this: he was the understudy who had never done it in front of an audience before, and understudies usually get notoriously little rehearsal time. It was a successful bit and Sean Montgomery certainly held up his part of the collaboration wonderfully.

    Being horribly afraid of heights, I don't know if I could have done it, even if I could tap dance upright and at floor level.

    Retreat From Moscow at The Dayton Playhouse -- After said post-Mary Poppins dinner with Tonya and Saul, I then attended the DPH production of this heartbreaking script by William Nicholson, that, as I indicated previously, featured Chuck Larkowski, Jennifer Lockwood and Matthew Lindsay, the latter whom I do not know. This isn't one where you leave the theatre uplifted, much the same as Race, from earlier in the week. You do leave thinking about family, marriage, and I think, perhaps for me at least, the concept of a happy life.


    FOR THE LOVE OF THE CRAFT ICON

    "Before The Magic: a Look Backstage":
    MISCELLANEOUS ICON
    I'm off in just a few minutes to be one of two guest speakers for Jacqui Theobald's UD continuing education course. Again, it's part of the Osher Life Long Learning Institute: University of Dayton. If you remember, Ms. Theobald is a local painter and a feature writer The Dayton City Paper. The other guest speaker, by the way, is Marcia Nowik, local actress, set designer, and a newer member of the DTG Board of Directors, who will also make her debut as a DTG director this coming season in The Guild production of The Subject Was Roses, by Frank D. Gilroy.



    Thu, Apr 25, 2013

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    xxxx
    "Ladies and gentlemen, take my advice,
    pull down your pants and slide on the ice."

    Goodbye, Sidney -- Rest in Peace Allan

    Allan Arbus
    February 15, 1918 - April 19, 2013




    FOR THE LOVE OF THE CRAFT ICON

    MISCELLANEOUS ICON
    "Before The Magic: a Look Backstage" -- Tuesday morning, Marcia Nowik and I spoke to Jacqui Theobald's UD continuing education class, titled as above, and part of the Osher Life Long Learning Institute: University of Dayton. Marcia spoke specifically about set design; I spoke about producing and sound design. Together, we touched on the differences between professional level and community theatre. We also talked about how some community theatres are more like professional theatre than others. It all comes down to attitude, and what is expected to be brought to the table. We had fun, the class attendees enjoyed it. It was all good.

    On Set icon
    Serve Me -- First shoot is this Sunday. I, like the other actors invovled, am committed to be off-book. To be honest, I've barely begun, however I feel secure that I'll be where I need to be by the shoot.


    Dayton Theatre Guild 2013-2014 Season A Season Of Endless Possibilities

    Come join us for the endless possibilities of good plays done well. Frequently area premieres and sometimes rarely performed classics make up our roster. These are plays that make you laugh out loud, plays that thrill you with high drama and plays that remind you that there is nothing as interesting as your fellow man in all of his or her possibilities when viewed through the eyes of a skilled playwright. And all of these works are performed by award-winning Guild casts playing in our intimate theater where every seat is right next to the action. Come be a part of theatrical excellence. The possibilities are endless !


    45 SECONDS FROM BROADWAY by Neil Simon

    45 SECONDS FROM BROADWAY
    by Neil Simon

    America's comedy master sets this piece in the "Polish Tearoom," a place not unlike the real Hotel Edison coffee shop in NYC where Simon once sipped coffee while meeting with other entertainment pros. In this warm and gentle comedy of remembrance, show business insiders, Broadway wannabes and the occasional tourist traipse in and out, each with a unique story. All the while a 60-ish Borsht Belt standup, Mickey Fox, dispenses one-liners, negotiates with a London producer and deals with a very needy brother-in-law.

    Directed by Fred Blumenthal
    Produced by K.L.Storer

    Show runs Aug 23-Sep 8, 2013

    Auditions will be held Mon & Tue, July 15 & 16, 2013*


    TIME STANDS STILL by Donald Margulies

    TIME STANDS STILL
    by Donald Margulies

    Seriously wounded in Afghanistan, photographer Sarah is brought home to recuperate by her writer and live-in boyfriend, James. She is soon visited by her editor and his new and much younger girlfriend. He sees her work and wants a book. And James wants something altogether more conventional, in this gripping drama by Pulitzer Prize winner Margulies. This drama of our times probes the feelings and intersections of these four very human people with insight, clarity and sometimes rich moments of hilarity.

    Directed by Debra Kent
    Produced by K.L.Storer

    Show runs Oct 4-20, 2013

    Auditions will be held Mon & Tue, Aug 26 & 27, 2013*


    THE GIFTS OF THE MAGI (Holiday Extra) by St. Germain and Courts

    THE GIFTS OF THE MAGI
    ~~(Holiday Extra)~~
    A musical from the stories of O. Henry
    Book by Mark St. Germain; Music by Randy Courts; Lyrics by Randy Courts & Mark St. Germain

    The Gifts of the Magi is a combination of those beautiful stories we grew up with: the down-on-their-luck couple who have no Christmas present for each other, and the gentlemanly bum who just can't get arrested so he can enjoy a warm cell and three square meals for the holiday. This is a little gem of a musical that brings a fresh, bright glow to the holiday season.

    Directed by Kathy Mola
    Produced by Barbara Jorgensen & Carol Finley

    Show runs Nov 22-Dec 8, 2013

    Audition dates to be announced


    THE SUBJECT WAS ROSES by Frank Gilroy

    THE SUBJECT WAS ROSES
    by Frank Gilroy

    This American Classic is about a dysfunctional family (before it became a common description) focusing on the return of a son from WWII. Shocking and disappointing his mother with his cursing and drinking, he seems to please his father just by having survived. His parents appear to be happy, but slowly the facade pulls away to reveal emotional wounds and problems yet to be resolved. The son feels responsible but is unable to fix the pain between his parents.

    Directed by Marcia Nowik
    producer to be announced

    Show runs Jan 10-26, 2014

    Auditions will be held Mon & Tue, Nov 25 & 26, 2013*


    EXPECTING ISABEL by Lisa Loomer

    EXPECTING ISABEL
    by Lisa Loomer

    Miranda and Nick, a couple nearing forty, are at last ready for a family, but are not so naturally successful. This very contemporary comedy by a playwright, a stand-up and a mother, examines the frustration, pain and confusion of a modern couple as they try various fertility techniques, new and old, simple and strange. They consider adoption and every other way to experience the final joy of becoming a modern parent.

    Directed by Natasha Randall
    Produced by Rick Flynn

    Show runs Feb 28-Mar 16, 2014

    Auditions will be held Mon & Tue, Jan 13 & 14, 2014*


    AN INSPECTOR CALLS by J. B. Priestly

    AN INSPECTOR CALLS
    by J. B. Priestly

    This classic suspense play, set in 1912 England, has a timeless quality which is why it is currently enjoying revivals throughout the English-speaking world. It starts with a family celebrating their daughter's betrothal only to be interrupted by a Police Inspector who establishes through questioning that each of them played a part in a young, poor woman's death. As they each realize their part -- some more, some less -- they are unprepared (as are we) for a very surprising ending.

    Directed by David Shough
    Produced by Kathy Mola

    Show runs Apr 18-May 4, 2014

    Auditions will be held Mon & Tue, Mar 3 & 4, 2014*


    THE DEAD GUY by Eric Coble

    THE DEAD GUY
    by Eric Coble

    It had to happen: the ultimate TV reality show. A young man gets to spend $1,000,000.00 over the next seven days, but the show's vultures are allowed to follow him with a camera wherever he goes. There is a deadly catch involved -- and it is all recorded on live TV, of course. Since he's in a tough luck position, how can he turn the offer down? This sharply funny play makes us laugh even as we get a message about ourselves and our times.

    Directed by Saul Caplan
    Produced by Debra Kent

    Show runs May 30-Jun 15, 2014

    Auditions will be held Mon & Tue, Apr 21 & 22, 2014*

    *) NOTE: all audition dates are subject to change


    DTG Buy Your Tickets Now click on the graphic for info on 2013/2014 season subscriptions or individual tickets.


    The Dayton Theatre Guild
    at the
    Caryl D. Philips TheatreScape
    430 Wayne Ave.
    Dayton, Ohio  45410
    937-278-5993

    www.daytontheatreguild.org

    *Show logo graphics created by Wendi Michael     



    Fri, Apr 26, 2013

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    SERVE ME
    FOR THE LOVE OF THE CRAFT ICON On Set icon
    The SERVE ME script with the stack of index cards (flash cards) setting on top of it

    Call for 4:00 Sunday afternoon.

    Line memorization/study has begun in earnest.


    SOME COMMENSALITY, OR A BONUS OF SORTS:
    U.D. Law - University of Dayton School of Law icon

    Yesterday, Dennis Turner, Professor of Law, Emeritus at U.D., and he who runs the program, if you will, that brings actors in to play clients and witnesses for the law students, treated Fran Pesch, the acting coach, and we actors who participated in this recent medical malpractice mock case to lunch at Thai 9 in the Dayton Oregon District. Though one actor could not be there, the rest were and it was a nice extended lunch break from the rent-payer and a nice social event with colleagues.

    By-the-way, I had the Thai 9 Fried Rice with chicken. AND I AM "PATIENTLY" AWAITING THE CHECK FOR THAT UD LAW GIG.

          cool smile icon


    OTHELLO AT SPRINGFIELD STAGEWORKS:
    In the audience - Not in the audience animated gif icon

    I did not make it last night to see Amy Diederich, Jon Hung, Josh Katawick, Jared Mola, Mike Taint, and the rest in The Bard play.

    I will be there tonight.


    THE BUSINESS OF ACTING ICON
    2012 return

    Once again I take the solemn oath to catch up-to-date then keep up-to-date all my expenses, mileage and income, as it occurs, so all I'll need to do is plug it into the filing next tax season.

    Humph!



    Sat, Apr 27, 2013

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    DEJA VU:
    In the audience - Not in the audience animated gif icon

  • Last night, for the second night in a row, I didn't make it to Othello at Springfield StageWorks to see Amy Diederich, Jon Hung, Josh Katawick, Jared Mola, Mike Taint, and the rest in The Bard play.

    I WILL be there tonight.


  • IN CONCERT & IN CHICAGO:
    In the audience icon

  • I did buy my tickets this morning for the July 24 stop by Steely Dan at the Fraze Pavilion on their "Mood Swings: 8 Miles to Pancake Day" tour.

  • Still planning to get tickets for William Petersen in Slowgirl, by Greg Pierce at Steppenwolf, which starts its on July 19. I'll be looking for tickets in August, I think. The tickets go on sale next Friday, and a weeknight show has reasonable prices. Actually, considering it's Steppenwolf, all the ticket prices are far below what one might guess.


  • Tue, Apr 30, 2013

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    SERVE ME:
    fb post "Off shortly to do a shoot. Makes one feel so happy and secure when your director refers to one of the sequences being shot today as 'The Billy Rape Scene' - and you play Billy"
    FOR THE LOVE OF THE CRAFT ICON
    On Set icon

    And so, Sunday and yesterday I was on location, at Alex Carmichal's home, appearing with Alex and Ayn Wood in Greg Nichols' newest short-subject movie, the horror short, Serve Me. As I was wrapped yesterday, Chuck Larkowski came in for his call to shoot. We have a scene together, but that will be shot in a few weeks.

    As for the specific meaning behind the facebook post above: You'll have to wait for the movie.


    AUDITION ICON

    PROFESSIONAL GIG ICON
    2013/2014 Generals at The Human Race Theatre Company -- Tomorrow morning is when to call to make an appointment for a slot in the Human Race general auditions for next season. The actual auditions, in Dayton, anyway, are Saturday, May 11, for straight plays only, or Friday & Saturday, May 17 & 18 for musicals only or for straight & musicals.

    The rub here is that I have yet to decide if I am going to sing this year. Of course, I did last year. The first musical choice this year is, The Fiddler on the Roof, which is up Oct. 31-Nov. 17, (and, in which I played Lazar Wolf at the inappropriate age of seventeen in my high school production). The other choice is a new musical titled Play It by Heart, by David Spangler, Jerry Taylor and R.T. Robinson, which was previously workshopped at The Race.

    I have no clue if there even is a role for me in the latter, and no real sense of whether there is one in Fiddler. I suppose I am more age-appropriate for Lazar this time around, but feel no lock on that at all. I soppose I can say that I have previously played an older Jew on The Loft stage, so, that's something. Don't have much of a sense if there is a role, whatsoever, on the season, straight play or otherwise. I am going to audition, I just haven't decided with what, or aimed at what.

    NON-PAYING GIG ICON
    FutureFest 2013 at The Dayton Playhouse -- At this point auditions for this July's local new play festival are a complete mystery for most of us: the six finalist have yet to be announced and the audition dates are not posted. I am likely to audition. Either way, I'll be at the festival.

    45 Seconds from Broadway at Home -- Mid July, DTG is holding auditions for this Neil Simon play. I am the producer, but I have been told there are a couple roles for me. I'll have to read it, I guess.


    In the audience icon

    Othello at Springfield StageWorks -- Yes yes YES, Saturday night I did get to The Bard play at SSW to see all of Amy Diederich, Jon Hung, Josh Katawick, Jared Mola, Mike Taint, and the rest of the cast. Have to say I saw some good work. Congrats to SSW on a successful run.

    Slowgirl at Steppenwolf -- Last night I picked up tickets for the Thursday, August 1 performance of this new Greg Pierce play at the famous Chicago theatre, starring William Petersen and Rae Gray. I swear, sooner or later I am going to see a show in Chicago in which Petersen is not a member of the cast.


    FilmDayton icon

    The April session of Film Connections will be tonight at DATV. There, DATV's Steve Ross and MVCC's Andy Valeri will talk about public access television in general, as well as how equipment, studio space, and software can be utilized by local indy film makers.

    This will be one of those times when I can make it.


    THE BUSINESS OF ACTING ICON
    2012 return

    I now have all my professional acting income, expenses and mileage up-to-date, up to today's date, at least.

    Now I have to get the volunteer/charitable mileage and contributions up to date.

    The big thing is now then to maintain such status by entering things as they occur.



    In The Gym

    YEAH, OK, WE'LL SEE



    Thu, May 2, 2013

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    AUDITION ICON
    PROFESSIONAL GIG ICON

  • 2013/2014 Generals at The Human Race Theatre Company -- I made my appointment yesterday morning for the general audition for next season. I made an appointment for Saturday, May 11 to audition for the straight plays (non-musicals) only, rather than sing and put myself up for any of the musicals. It was the epitome of a last-minute decision; I vacillated on which to do until just as I made the call to set the appointment. I can say one-hundred percent that I knew which was I was going as the phone rang on the other end.

    I pretty much immediately second-guessed that decision. In fact, a couple minutes after I had hung up, I almost called back to change my appointment to the mix of musicals and plays.

    It's not at all that I have any great affinity for doing musicals; I do not. I have no aversion, either, and think I carried my own during Caroline, or Change last season at The Race. Many of my theatre friends will know that I have what may never be a realized desire to play John Adams in 1776 -- in all lack of humility I wish I could make it on stage as that man in that show, because I know I'd do the role great justice. Of course, the small band of readers here and, again, my local theatre friends, will also know I was chomping at the bit to be Nicky & Trekkie in Avenue Q.

    Overall, though, I have no aspiration to be first-and-foremost a musical theatre actor. Straight drama is my strongest draw. On the other hand, the ability to make it into the cast of a musical makes it that much easer to, well, get cast, and in terms of the professional actor aspirations: get work. The 2013/2014 Race season is not hot with potential roles for me, either. As I stated in an earlier post, it really seems to me my best shot on the HRTC stage next season is the character of Steve in Becky's New Car -- "best" as a relative term. There's nothing for me Torch Song Trilogy, and though there might have been a role I could do justice to in Other Desert Cities, that one is already cast. There may also be a role or two in It's a Wonderful Life: A Live Radio Play. which I possibly could get a callback for. I don't suppose getting into the The Fiddler on the Roof cast would be an insurmountable task; whether Lazar Wolf (which I played in high school) would be the credit or not is perhaps another matter. I know nothing of the musical Play It by Heart (music: Spangler and Taylor; lyrics: Spangler, Taylor and Robinson; book: Yorkey), and of course, the new musical for the Musical Theatre Workshop has not been announced, as neither has the new work for the 2014 Marsha Hanna New Play Workshop, for that matter.

    fb post - "I wasn't going to sing a song -- but I changed my mind. BTW, slots are still open for you pro semi-pro actors out there - http://humanracetheatre.org/auditions.php" All this speculation and mental tussling led me to, almost exactly twenty-four hours after my first call to HRTC Company Manager Kryss Northrup, make a second call to her and switch my appointment to a plays/musical audition on May 18.

    If you are local and think you might want to audition, you might try the link in the image on the right; depending on when you read this, there may still be slots open.


  • DOH! Ooops!
  • Oh, yeah, Zoot -- Duh, well, seems I forgot that sometime soon will be the Zoot Theatre Company general auditions for next season, and I am at least thinking about auditioning again. I certainly haven't ruled it out.



  • A COUPLE THINGS, RE FILMDAYTON:
    FilmDayton icon screenshot of a screenplay opened in Final Draft 'BE OR NOT' icon

  • Tuesday night I attended the April session of Film Connections, held at DATV and for which featured DATV's Steve Ross and MVCC's Andy Valeri, who gave an overview of local public access television then how equipment, studio space, and software can be utilized by local community members, especially, for the FilmDayton crowd, how such can be utilized by local indy film makers.

    I was personally invigorated enough by the information and the tour of the DATV facility to leave with a serious intent to join DATV. On the drive home I thought about the longer short screenplay I started in early 2005 and I fired up Final Draft and looked the screenplay over for the first time in several years. Naturally, I was not able to simply read, I had to make some changes and other edits, though all were minor. This is the one that I want to have a budget of $10,000 to $15,000, if not more, so whatever has just ignited may a slow burn. There is still Vignettes In Bellcreek project to attack the post production of, as well.

  • The 2013 Eichelberger FilmDayton Festival is accepting submissions of short films by local film makers. I'm going to discern whether its age or its long-standing on-line availability preclude Be Or Not from eligibility.



  • SERVE ME:
    FOR THE LOVE OF THE CRAFT ICON
    Dark photo of a dark blue femal face, almost completely in shadow, with one bright yellow iris visible.

    Have calls for principal photography on May 11 and May 18. There will be some possible pickup days after that. At some point we will do ADR. Let me rephrase that:

    At some point we will do that goddamned ADR!

    ADR is a bit of a pain in the ass.

    Meanwhile, check out above the first teaser image from the production that Auteur Greg Nichols has put out there.


    DTG Podcast Production logo

    First shoot tonight.



    Mon, May 6, 2013

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    SERVE ME:
    FOR THE LOVE OF THE CRAFT ICON

    Working on lines for the shoot coming up this Saturday, which will be shot in a car with Alex Carmichal and myself in the scene. I have only some idea how Director Greg Nichols will shoot it. I know there will be reversals, but I don't know exactly how he's shooting them. I also am not sure if Greg will shoot a master shot.

    Greg has also made privatley available an assembly edit (rushes> of a sort) of the footage shot on April 28 and 29, that which I was involved with. Looks good, despite that I do not like watching myself work on screen.

    In The Gym
    Oh, and one thing's for sure looking at that footage:
    I am ever-lovin'-mother-frikkin'-out-of-goddamned shape!


    MOVIE PRODUCTION STUFF ICON

    Film Dayton icon
    'BE OR NOT' icon
    2013 Eichelberger FilmDayton Festival -- Via Withoutabox I have submitted Be Or Not to this late-summer, local film festival. I was concerned that it would not meet the eligibility, specifically the "finished by" requirement, but I was several months past the date, so I'm in.

    Technically, I'm not "IN" as of yet, as the film has not been accepted at the moment -- I haven't even sent the DVDs yet -- but I am eligible to be "IN," and the submission has been received and approved as valid.

    Final Draft 8 icon
    Perfect Luv -- With my tentative plans to associate myself with DATV and have access to some relatively SOA equipment and facilities, I am now looking at the longer short-subject screenplay I started about eight years ago. There are some scenes to fix, some technology references in the story to update, and likely some scenes to cut and add. What I really need to do is get tutored and otherwise better acquainted with Final Draft, though I also have another screenwriter's software, Celtx, that has a pretty good rep, itself.

    'VINGETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him.
    Destination "Final Cut" -- Not much to say here except how absolutely, categorically, undeniably, inexcusably, and pathetically behind schedule is the post production of this project.


    THIS SUMMER'S NEW PLAY FESTIVAL IN DAYTON:
    FutureFest 2013 new play festival at The Dayton Playhouse

    The Dayton Playhouse has just released the finalists and the adjudicators for the 2013 FutureFest. The six plays are:

    • A Position of Relative Importance by Hal Borden
    • On the Road to Kingdom Come by M.J. Feely
    • St. Paulie's Delight by Jacob Cox
    • The King's Face by Steven Young
    • The One With Olives by Sam Havens
    • Veils by Tom Coash

    The adjudicators are:

    • David Finkle
    • Rob Koon
    • Faye Sholiton
    • Helen Sneed
    • Eleanore Speert

    Weekend passes go on sale, June 3, at a $95 price tag. Single ticket sales start July 8. and are $18, each.



    Wed, May 8, 2013

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    PAUL'S "OUT THERE" TOUR HAS BEGUN:
    Paul McCartney logo -- Extreme close-up of his eyes behind his autpgraph signature
    In Concert icon

    Sir Paul opened his 2013 world tour May 4 in Belo Horizonte, Brazil, in front of 55 thousand fans at the Estadio Mineirao. As you five who re-visit here will know, I have my ticket for his July 14 show at the Bankers Life Fieldhouse in Indianapolis, Indiana, a short two-hour drive west from home. There may be some change-up the night I hear him, but, here is the song list from the opening show, which is likely to be at least most, if not all, of the show in July:

    Eight Days A Week
    Junior's Farm
    All My Loving
    Listen To What The Man Said
    Let Me Roll It
    Paperback Writer
    My Valentine
    Nineteen Hundred And Eighty Five
    The Long And Winding Road
    Maybe I'm Amazed
    Hope Of Deliverance
    We Can Work It Out
    Another Day
    And I Love Her
    Blackbird
    Here Today
    Your Mother Should Know
    Lady Madonna
    All Together Now
    Mrs Vandebilt
    Eleanor Rigby
    Being for the Benefit of Mr. Kite!
    Something
    Ob-La-Di, Ob-La-Da
    Band on the Run
    Hi, Hi, Hi
    Back in the U.S.S.R.
    Let It Be
    Live And Let Die
    Hey Jude

    ENCORE:
    Day Tripper
    Lovely Rita
    Get Back

    SECOND ENCORE:
    Yesterday
    Helter Skelter
    Golden Slumbers/Carry That Weight/The End

    So, yeah, little to nothing to do with my own "Artful Things," but still. I guess I can argue that he's one of my major artistic influences, if not the biggest one, especially just in terms of philosophy and approach to art in general.

    Or I could just say, "Whose blog is it?"

    PLUS, POSTING THIS ENTRY AFFORDS ANOTHER OPPORTUNITY TO CREATE NEW SUBJECT ICONS!



    Thu, May 9, 2013

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    PROFESSIONAL GIG ICON

    AUDITION ICON
    Generals for The Human Race Theatre Company's 2013/14 Season -- I have picked my song and monologue for my May 17 appointment to audition for next season at The Race. I have an option to do material directly from shows I am interested in, so I am going for a song and a monologue, each for characters that I believe I have the best chance at winning roles as.

    No, no Lennon & McCartney music this year. How about some Bock & Harnick, instead? I'm then pulling my monologue from Becky's New Car (Steven Dietz). I have yet to make the cuts to either. The real challenge will be to successfully cut the sheet music to the edit cut I make of the sound track recording of the song I'm using -- given how weak my music theory acumen is.


    A "fiddler on a roof" -- In some beautifully coincidental synchronicity, I potentially have a gig in a couple weeks as a rabbi on a roof, mimicking playing the violin, as guests enter for a wedding. Decent pay, too, for the amount of time I'll put in. A higher rate per hour than I made for my stand-in work on the set of The Ides of March.

    Yep, me on a roof. Never mind that I am afraid of heights.



    Sun, May 12, 2013

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    SERVE ME:
    FOR THE LOVE OF THE CRAFT ICON
    On Set icon
    xxxx
    Greg, Carol, & myself, in Alex's house as Greg looks over the script to prepare to shoot the car-drive scene.
    Photo taken by Alex Carmichal     

    Yesterday we shot the car-drive scenes between myself and Alex Carmichal. On production was Carol Narigon, acting as producer, script supervisor and all-around PA. Our fearless director, Greg Nichols, only shot reversals, with no master shot of the car scenes -- a master would have been difficult without a lot of external rigging for the car.

    What Greg did was set his tripod over the transaxle console in the front seat, between the driver and the passenger, then trained the camera on the actor being shot. Alex drove while I was in the passenger seat, doing my lines on camera.

    When the camera was flipped, I was not in the car, but was back at Alex's house. The reason being that Greg was in the passenger seat shooting Alex and because of the angle of the shoot, the left passenger seat, behind the driver, needed to be empty. So Carol stayed in the back seat on the right, on script, feeding Alex my lines. The back seat hadn't been an issue when I was shot, because of the placement of the camera rig -- the back seat wasn't at all in frame.

    xxxx xxxx
    Greg & Alex in the car, while Greg sets up the camera rig to shoot the first of the automobile interiors of the car-drive shoot.



    HUMAN RACE THEATRE COMPANY 2013/14 GENERALS:
    AUDITION ICON
    PROFESSIONAL GIG ICON

    Gotta admit here: I have not yet gotten to the cuts for either my song nor my monolog. I have some podcast editing to do today, but it would behoove me to at spend time looking seriously at both the song and the text. It doesn't help that I am vacillating on my choice of song, either.


    In the audience icon

    Next To Normal at the Victoria Theatre -- I, along with others, only one whom I am sure of who, have been afforded the opportunity for comp vouchers for the Human Race Theatre Company Broadway Series production of Next To Normal, which is up right now. Looks like I'll catch it on its closing day, next Sunday.

    You five regulars may remember that I had an strong interest in being Dr. Fine/Dr. Madden, but was skeptical of much chance for even a callback, and that which I did not get. I was skeptical because I'm not really typed well for the role. Doesn't change the fact that the doctors' songs are most certainly in my range and I love the music. I love this show, a lot; at least I love the show and the music as performed on the original Broadway cast recording.

    The role of the doctors went to J.J. Tiemeyer, who I know to some extent: talent guy and certainly closer to type for the doctors than I. Also in the show is Jamie Cordes, who was a fellow castmate in Gingerbread Children at The Race a few months back.

    I am excited to have the chance to see this. Frankly, the money I have recently spent on McCartney, Steely Dan, and Slowgirl (at Steppenwolf) tickets, some $534.68, made the Next To Normal ticket prices somewhat out of reach, even the nose-bleed $40 weeknight tickets.

    Avenue Q -- Of course, in a few weeks this gem opens on the HTRC Loft stage; "Preview Night" is June 6. I am most certainly going to be there on Can Night, but may buy a ticket for another performance in the run. This one, of course, you five may recall, was one of my big casting desires for the season, and I did get the callback for this, and for the role of which I was covetous: Nicky/Trekkie Monster. I know I gave a great audition, but alas I was not cast. I am yet still excited to see this one, too!



    Fri, May 17, 2013

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    2013/2014 GENERALS AT THE HUMAN RACE THEATRE COMPANY, THIS EVENING:
    AUDITION ICON
    PROFESSIONAL GIG ICON

    Today? I have taken the day off from the rent-payer. For the most part, today is about final audition prep. I am close to ready, as I write this sentence at 10:46 a.m. (taking a break from audition rehearsal for a few minutes). I will be ready at "show time."

    I have a decent accomplishment on the words to, and the performance of, my monologue; my cut for the song is, I believe solid, even if I am essentially music theory challenged.

    So, I guess all that is left to do is polish it all up this morning and this afternoon then perhaps I ought take the feeling of edginess and channel it to my advantage.


    SERVE ME:
    FOR THE LOVE OF THE CRAFT ICON

    On Set icon
    I should wrap the HRTC audition just prior to 6:30. Then it's home, or wherever, to put the final push on being off-book for what should be the wrap of principal photography for Greg Nichols' short-subject horror movie.

    Tomorrow I will be in scene with Alex Carmichal (again) and Chuck Larkowski.

    It may seem like I am waiting to the last minute to get those lines down, but it's a case of triage: I have to get down what needs down first. There's been a bit going on and other deadlines came earlier than off-book for Saturday. There's not a boatload of lines, so I'll be okay.


    SD DV TAPE, DSLR, MOVIE SHOOT SNAFUS AND THE ABSENCE OF A GOOD A.D.     OH MY!:
    MOVIE PRODUCTION STUFF ICON
    Dual degree? Yes. I graduated with a degree in English (concentration: Creative Writing) and Mass Communication (concentration: Media Production); with a minor in Sociology (Concentration: Family Socialization). Though it stretched my academia out at least another year, if not another year and a half, I went for the dual degree so I could take more writing courses and still have them count toward my diploma. I could only take so many such English classes as an English major. But virtually all the writing courses were offered under both an English (ENG) and a Communication (COM) heading. By adding the Mass Com program. I was able to take more writing courses. They would be, for instance, "Writing for Cable News -- COM. 356" as well as "Writing for Cable News -- ENG. 356."

    Then came the irony: Just about the only writing course I did not take, in either department, was Technical Writing. So, for the first few years after graduation, guess what sort of writing I did on a regular basis on the job?

    Of course, I also took a boat-load of production courses for my Mass Com degree.

    Yes, yes: a degree in "writing" and yet I still make at least one or two dumbass typos in every post, here or elsewhere!

    When I was in college, (you know: last century?), I had an Advanced Video Production class for the "Mass Communication" half of my dual degree. In that class, I and a classmate partner produced a promotional video for a leg of our university that was known as The Center for Employee-Management Cooperation. I may actually have that title a bit wrong, but the important thing is that "Management" is in there; that word was, indeed, part of the title.

    The video was much like the DV movies I make for the DTG podcasts: very documentary in style. We shot footage of the facilitators working with the clients in the classrooms and on site at clients' companies. We interviewed the facilitators and clients, and edited together a video of about fifteen minutes. I was in charge of the titling process. We used the TV center on campus and their key matting process to overlay the titles.

    We finished it and moved on. Both of got an A in the class. Everything's fine.

    Months after the class was wrapped, perhaps even after I had earned my degree, I was showing some of my video work from college to a visiting friend. I popped in the VHS version of the tape (the original was three-quarter tape; this was the 1990's) and here we go: I'm about to impress my friend with my great work on my Grade-A project!

    The main title pops up. My friend says, "Management is spelled wrong."

    Sure enough, the main title said:

    The Center
    For
    Employee-Managerment
    Cooperation

    She also caught the misspell "Cheif" in a later key matte for a client identification title at the bottom of the screen during an interview.

    And that video was actually used by the Center when pitching service to potential new clients!

    Sometime after that, weeks, months, some point, I related this bozo blunder to WSU faculty/staff member George Frey, who at that time was heavily involved with the campus television and video productions. His response was: "That's why God made assistant directors and script supervisors; 'cause directors are too busy with the big picture to attend to that crap." That's probably not an exact quote -- it's been a while -- but it's probably close, and it is certainly that way he would couch the sentiment.

    So, there's that story, all to set up this story: Thursday night, I shot a short little vignette for the start of the latest DTG podcast. It's a little opening sequence for the DV movie, a short, non-dialogue narrative bit, using an actor (Kenneth Laudermilk-Spellman). I shot it in the theatre space, on the set for the Guild show, with the use of a few specialized props. The shoot went well.

    Except....

    There was this other shot, in conjunction with, but not directly related to, the whole narrative vignette segment I shot. My intentions had been to just get a still photograph for that other shot; it wasn't absolutely necessary it be DV footage. But, I changed my mind and decided I would use the DV camera to do a slow zoom to the precise framed image I want for the podcast movie. That is what I did.

    For the little vignette, I had shot about a total of twelve minutes of footage, with about twelve shot set ups, to get the two minutes of narrative segment. As I used the Canon ZR800 to shoot this all, there is tape involved: an important aspect of the story.

    The mini-cassette DV tape plays its role as so: My decision to use footage rather than a still came after I was done with all the shots for the vignette and Mr. Laudermilk-Spellman had changed out of his costuming. At that point I was essentially packing up, but before I got to the DV camera I made the decision on the footage rather than a still of the other shot -- that which is, essentially the background image for the body of the podcast.

    I set it up, hit record, did a couple slow zooms in and out, and that was that. As I was finishing the shot I noticed the time tracker on the DV camera view screen was registering just over one minute.

    DOH!  When shooting of the vignette had wrapped, I rolled back the tape to have it ready to export into Final Cut Express for the editing process. I forgot that little fact!

    So, yes! I RECORDED OVER FOOTAGE I HAD EARLIER THAT EVENING SHOT FOR THE OPENING VIGNETTE!

    And, so, yes: Mr. Laudermilk-Spellman, who fortunately was still there with me, had to costume back up for a few shot set-up reshoots: four, if I remember correctly.

    Thus, aside from a whole host of other reasons why shooting with a DSLR camera is better, there's the there's no tape to roll back over and lose footage argument.

    *See down below for the finished podcast.


    FutureFest 2013 new play festival at The Dayton Playhouse
    In the audience icon

    During a break from audition rehearsal, I bought my weekend pass for this year's FutureFest (AKA: FutureFest 2013).

    Very likely I'll audition for a show, too. The notices aren't out yet, but I have my radar on.

    So here's hoping I have a free seat for a friend for one of the performance.


    OPENING TODAY

    THE PILLOWMAN by Martin McDonagh, at The Dayton Theatre Guild.

    For mature audiences only



    DTG Producer icon
    45 SECONDS FROM BROADWAY by Neil Simon at The Dayton Theatre Guild

    The last show of the 2012/2013 Dayton Theatre Guild season opens tonight. Meanwhile, preproduction for the 2013/2014 season is underway.

    So, several DTG board meetings ago, when the board approved the directors for the new season, it was determined, as is customary, to at least name the producer for the first show. Director Fred Blumenthal requested me, and I complied.

    To that end, I have been pushing for the audition specs to be finalized and gotten out there. Yesterday the audition announcement hit our facebook page, and Publicity has the info.

      Audition Dates: July 15 & 16, 2013, starting at 7:00 pm both nights.
      Rehearsals will begin July 22, 2013
      Production Dates: Aug 23-Sep 8, 2013

      Casting Requirements:

      - Auditions will consist of cold reads from the script
      - A résumé and headshot are not required but are encouraged.
      - Please bring all potential scheduling conflicts between July 22 and Sep 8, 2013

      CHARACTER
                 NOTES
      Andrew Duncan            Smart, sophisticated, English producer. Early 50s.

      Mickey Fox            One of the last of a dying breed, the Jewish Borscht Belt comedians. A vigorous 60.

      Solomon Mantutu            South African black man, obviously well educated but without means at present. Mid 20s to early 30s.

      Bernie            The owner of the coffee shop, A big man in more ways than one. Early 70s.

      Megan Woods            Aspiring actress just off the bus from Ohio. Young, pretty, early 20s.

      Arlene & Cindy            Two delightful theatre goers. Middle aged, Jewish patrons.

      Raylean            *(this role has been pre-cast)

      Charles            Raylean's husband. Dignified and silent. Elderly.

      Zelda            Bernie's wife. A vital, feisty woman who really runs the restaurant. Early 70s.

      Bessie            African-American working actress. Outgoing and fun. 35 to 50 years old.

      Harry Fox            Mickey's slightly older brother. Walks, talks and dresses like Mickey.

      Extras            the production will use extras to populate the restaurant.

      For more information, contact me at KL_Storer@yahoo.com

    PS: guess what dumbass agreed to also produce the second show of the new season?



    Fri, May 24, 2013

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    CATCH UP

    AUDITION ICON

    PROFESSIONAL GIG ICON

  • 2013/2014 HRTC Generals --

    KL fb post -- "Monologue -- Check (I feel really good about it); song -- NOT check (there were 'problems'). At least most of the people in the room have actually heard me sing well. Not today, though. ['Sad' smiley face]"

    There's my late Friday post on facebook, last week, referring to my audition earlier that evening. To elaborate on the "(there were 'problems')" part, and I'm not sure which order this was, but either I slightly lost pitch then went up on some lyrics or I went up on some lyrics then lost pitch. One of them faciliated a loss of focus that then engedered the other. I was just so caught up in the moment that I can't tell you now which happened when. I do know that the instant I went off pitch I knew it and simply was not able to grab back my focus to adjust the pitch back to key.

    What'd I do? you ask? I soldiered through to the end, said, "Thank you," chatted for a few moments, then left.

    A while ago, quite a while ago, I read an opinion piece by an industry person -- can't remember if it was an actor, a casting director, an agent, or some other player -- that discussed the after-period of an audition. I also don't remember which trade it was, but I am thinking it was an on-line link to a Back Stage article. The meat of the article was essentially about being a pragmatist in the wake of an audition. Ask yourself a few questions:

    1. What do you feel good about?
    2. What do you feel not so good about?
    3. What do you know you nailed?
    4. What can you do better next time
    5. In other words: what did you learn from this one?

    In this case, what do I feel good about? -- My overall demeanor was in a good place. Of course, it is true that I have a relationship to some degree with most of the people who were in the room; I have been directed by and have also been in a show with one person who was there; and have a pretty good, if fledgling working relationship with two others who were there. It wasn't like I was in a room with a group of strangers.

    I also feel very good about the monologue, as I wrote above, and it was a comedic monologue, to boot. You five regulars may remember that I have a not-too-small insecurity about my comedic abilities and timing, but I do believe I gave a great delivery on this one. At least it felt that way to me.

    Another thing I feel good about (or, what's the silver lining in that dark cloud?): The fact that I "soldiered on," that despite being derailed, I at least kept enough of my cool to keep the train moving forward, that despite the fact that I was immensely pissed at myself, I kept a performer's demeanor as I struggled with words and pitch, managed to recover lyrically but, alas, not in terms of getting back to the key. Yet, it was not the total melt down it could have been because I was able to at least keep that from happening.

    What do I feel not so good about? -- Clearly I am not enthused with going off key and forgetting lyrics during the song. The song was simply not a "WOW! I kicked some serious ass!" event. I also realized after I left that I had failed to tuck my shirt in before I went in -- chalk that up to some level of nervousness that made me forget. That's really a bit of a minor point, yet still, not standing in front of them all, even if we have a relationship already, with my shirt tail out would have been better.

    What do I know I nailed? -- Well, the comedic monologue, of course. For those who are interested, I did what could be called the "Little Boy and Puppy" monologue from Becky's New Car, by Steven Dietz. The audition specs this year had one choice for a program that was, "Come prepared with 1 one-minute monologue and 1 song (up to 32 bars) in the style of the show(s) or from the show you are interested in." Becky's... is the first show of the season, and Steve, who is the character speaking this monologue, is a character I am typed for, so there is some sort of a chance. I had another advantage as we had worked on scenes from the play in my last Advanced Acting class with Kay Bosse, though in the class I played Walter, a rich widower in his sixties. But when I saw the "Come prepared with 1 one-minute monologue...from the show you are interested in" allowance, I was familiar enough with the script to know that Steve is a good fit for me and I should target him. Like I said, I did right by myself with the Steve monologue; got laughs, that's kind of the goal with a comedic monologue.

    Going back to the "feel good" question: it also feels good to risk utilizing a skill set I am less accomplished at (comedy) and to succeed.

    What can I do better next time? -- Okay, well, to state the achingly obvious, I could, um, Sing On Key! I could Not Go Up On Lyrics! Those two things for a starter. I also need to learn to calm down and cool up a bit. I say this because the fact that I did not tuck my shirt in before I went in is evidence I was a little more high strung and nervouse than I remember, thus, I missed a small but important image action. I also have a habit, I have noticed before, of being nervouse enough that I don't attend to the small niceties of personal introductions with those in the room I don't know as well. These aren't as salient as being in key and remembering all the words, but they aren't unimportant, either.

    What did I learn from this one? -- I need to remember my lack of formal musical training and procure help with the song. Last year the song went well. You five regulars may remember that I sang the McCartney Beatle song, "You Never Give Me Your Money," a song I started singing more than forty years earlier; so, immediate rehearsal, though not unimportant, was "brush up" not "learning." I bought a copy of the sheet music from Sheet Music Plus, that which was a piano/vocal score, but scored precisely to The Beatles' performance on Abbey Road. As that performance, that arrangement, was the template for my performance, it was easy for me to use my limited music theory knowledge to correctly get a cut for the audition. What I cut was the extended intro as well as the instrumental bridge between "Oh that magic feeling / Nowhere to go" and "One sweet dream...," for those of you who know the song. Having a fairly intimate, decades-long working familiarity with the song, and with the sheet music being scored closely to the original recording, I was able to accurately correlate sheet music cuts with the edit I made to the recording, the latter which I rehearsed with.

    I elaborate all that because this year, based again on the allowance to use a song from the musical I am interested in, I went with "To Life" from The Fiddler on the Roof, which is the established musical that is up next season. Okay, for those who don't know, I was Lazar Wolf in the Wilbur Wright High School 1976 production of Fiddler, right before my eighteenth birthday. Thus, I sang, in my distant past, "To Life," as it is essentially a duet between Tevye and Lazar. That was almost forty years ago, and once the weekend of performance was over, back in 1976, I never sang the song again until just recently. Not quite as practiced on "To Life" as on "You Never Give Me Your Money." The sheet music I got a hold of for the audition was not precise to either the original Broadway cast recording or the original motion picture soundtrack. My recording edit and my sheet music cut was much more an educated guess this time than last. This song is not engrained in me like the McCartney song, either. It was much easier for me to be in the audition room and to be able to actually sing the song, with accompaniment only (no recorded vocal track I was singing along with) on "You Never Give Me Your Money" because I was so familiar with the song -- I might have been able to sing it a capella and not lose pitch. That's how it worked last year: the first time I sang the McCartney song with accompaniment only was at the actual audition. With "To Life," it was the same; I had not last year nor this worked with an accompanist or vocal coach before the audition, unlike I had done for the Avenue Q callbacks last January, wherewith I worked with Reneé Franck-Reed and did actually rehearse to accompaniment only.

    I can't say that I "Blew Off" prepping for the audition this year, that just would not be a correct assessment. I do believe that I underestimated the amount of musical prep I needed. I believe that in the end, I was under-rehearsed for the song and not properly rehearsed -- as per rehearsal with accompaniment only. I also over-estimated my musical savvy. I have some, there can be no doubt; and I have good musical instincts; but my misadventure shows I was not as ready as I thought I was. There's a lesson for ya.

    Off the facebook post which I shared above, I got a comment worth attending to: "Learn from it and move on. It's usually never as bad as we think. Let them be the judge. They know your work." Much of that message, of course, I was already processing as part of my post-mortem. The part I needed a little reminder about was the "... Let them be the judge..." part. My perception matters, since I like to improve and the self-assessment is a part of that; but, the auditors' decisions about how I did is the ultimate authority over the main goal of the audition: the gig.


  • PROFESSIONAL GIG ICON

  • Maybe a Commercial -- Yesterday, PC-Goenner contacted me about a screentest next week for a commercial. A little while after I confirmed that I'd be there, and knew all the specs, I got another email that said to disregard the casting call for the moment. The client changed the casting to a headshot submission. If selected for the audition next week the agency will get back to me. So, I may have an audition next week.


  • FutureFest 2013 new play festival at The Dayton Playhouse

  • FF13 Auditions -- The audition notice for this summer's Dayton Playhouse new play festival have been posted: thedaytonplayhouse.com/index.php/auditions. The auditions are Monday, June 3 (Fully Staged), Tuesday, June 4 (Staged readings), and Thursday, June 6 (both). I am likely to at least be at one of those. I have access to the scripts I have an interest in, so at least it won't be the stone-cold readings it has been the last couple times I read for FF.



  • SERVE ME:
    FOR THE LOVE OF THE CRAFT ICON
    Dark photo of a dark blue femal face, almost completely in shadow, with one bright yellow iris visible.
    Ms. Wood's character.
    On Set icon
    Last Saturday the principal photography for the movie was wrapped. As I stated in the last post, I worked in frame with Alex Carmichal and Chuck Larkowski, the other two principals in the movie -- though it's really difficult to say that Ayn Wood is not also principal; even if she has a bit less screen time, it certainly is important screen time *(see above).

    Next step: The Dreaded ADR2!

    xxxx
    Director Greg Nichols, Chuck, & myself (back to camera), on set.
    Photo taken by Alex Carmichal     
    xxxx
    Alex & Greg
    xxxx
    Chuck......waiting......
    xxxx
    Carol Narigon: producer on set.



    HRTC'S NEXT TO NORMAL AT THE VICTORIA THEATRE:
    In the audience icon

    Last Sunday afternoon I saw the Human Race Theatre Company installment of the 2013/14 Victoria Theatre Associations Broadway Series on Sunday and enjoyed my afternoon in the hall. There was very fine work up there on the stage.

    Kudos to Trisha Rapier (Diana) , Jamie Cordes (Dan), Jon Hacker (Henry), Eric Michael Krop (Gabe), Emily Price (Natalie), J.J. Tiemeyer (Dr. Madden/Dr. Fine), and Director Scott Stoney, as well as the rest of the production team.


    BRUCE SABATH IN A PRINCIPAL ROLE IN THE NEW UNTITLED MARC LAWRENCE/HUGH GRANT COMEDY:
    PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS

    HRTC Caroline, or Change alumnus Bruce Sabath landed a nice principal supporting role in this Castle Rock full-length feature. A few weeks back Bruce put out that he had done some scenes for this project with J.K. Simmons (Chief Will Pope on The Closer). Last week he sent out some pics of himself with a few other actors from the film: Hugh Grant, Chris Elliott, and she causes me the most envy -- Allison Janney. Allison being a native Daytonian (okay, technically I believe she grew up in the city of Oakwood, but still a Daytonian to me), and of course, besides her brilliant work in American Beauty and her great work in many other movies and TV shows, she was C.J. Cregg!

    So: YAY Bruce on your great gig!



    Memorial Day
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    "I dream of giving birth to a child who will ask, 'Mother, what was war'? ~Eve Merriam; In honor of the millions who have fallen in the dreadful responsibility of armed service"
    YOU KNOW THOSE "BEST LAID PLANS....":
    THE ACTOR PREPARES ICON
    AUDITION ICON

    K.L.fb post - "It's really a rather odd thing, 'perception.' I've been busy all day long and it seems like I've done nothing. It's probably because I've been racing toward what I want to do, which is read plays for various reasons, and that hasn't come about yet.....soon...."

    The plan yesterday was to read several plays. It did not work out that way. Other life stuff commanded the day and actually has some control over today as well. In fact, I'llliekly take several breaks during the composition of this blog entry to deal woth some o that stuff, so despite that it's about 7:40 as I key this sentence in, this entry probably won't be posted till after 12 noon. I'm hopeful, however, that I can get some play reading done beofre today ends. I have several on the docket. The goal is now to get at least one particular play read, as I need to get it back into the hands of the person I borrowed it from as soon as I can.

    FutureFest 2013 new play festival at The Dayton Playhouse

  • Three New Plays for FF13 -- The auditions for this year's Dayton Playhouse FutureFest new play festival are the week after next -- see thedaytonplayhouse.com/index.php/auditions for the audition dates, times, and specs.

    There are three plays I seem cast-able in. It just happens that it is the three fully staged productions, and though I am more inclined toward such, it truly is happenstance.

      - A Position of Relative Importance, by Hal Borden opens the weekend, and there is at least one role for me in this one, directed by fellow Dayton Theatre Guild board member, Debra kent. The big problem here is that traditionally, as this is the first production of the weekend, the final dress is liekly to be Wednesday, July 24. I have tickets for Steely Dan at the Fraze Pavilion on their "Mood Swings: 8 Miles to Pancake Day" tour. Since I haven't read the play yet I don't yet know if I would want to unload my concert tickets for a role in the play. I don't know if there's a good trade-off there for me. The role I am up for is certainly supporting, and I'll have to really find the guy worth playing to give up Fagen & Becker for him.

      - On the Road to Kingdom Come, by Dayton native and past FutureFest First Place Winner (2009 for Night and Fog) Michael Feely. I was in Night and Fog, which was directed by Saul Caplan, as is this new entry. Saul has, in fact, directed all four of Michael Feely's plays to have made it to the FutureFest stage. Were I cast in On the Road... I would again be playing an officer in the military, as I did in Night and Fog. As has two of his other three been, this new one is the Saturday evening performance.

      - The third one is The King's Face, by Steven Young, directed by Geoff Burkman. As actors, Geoff and I have appeared together twice on FF stages, one of those being in the celebrated Night and Fog. We were also both in A Case of Libel at The Guild, but never had scenes together in that. This is the one I am sure to read today, as I need to get it back to the person I borrowed it from. I had a concern about this one, but as I look at the calendar, my worry subsided. This is a full-length, two-act TWO-ACTOR play. My first thought was, Do I have enough time to commit to getting the lines down for this one?. But, if I were to know I was cast by the June 8 weekend, I'd be in good shape. That's about a month to get off-book, Even if the director pushed it back to three weeks before off-book, that's still do-able, providing I know my deadline early enough. Now, all that is left for me is: do I care about being Jonathon Bradmore, London surgeon and counterfeiter? Guess it's up to Mr. Young's words to settle that.

  • Dayton Theatre Guild
    45 SECONDS FROM BROADWAY by Neil Simon at The Dayton Theatre Guild TIME STANDS STILL by Donald Margulies at The Dayton Theatre Guild THE GIFTS OF THE MAGI (Holiday Extra) by St. Germain and Courts at The Dayton Theatre Guild

  • Three DTG shows -- I'm looking at the first three shows of the 13/14 season at home at The Guild, too. I also happen to be producing the first two, 45 Seconds from Broadway, by Neil Simon and Time Stands Still, by Donald Margulies.

    A "potential" obstacle for those first two, which may also preclude me from producing them is the chance that I might possibly, if the stars align exactly correctly, the wind blows out of the north-east at exactly the right time and force, the moon has the right hue, and I eat the right foods for breakfast a few mornings in a row, there's a slight chance that I might in some weird borrowing from an alternate universe, get cast as Steve in Becky's New Car, by Steven Dietz at The Human Race Theatre Company. That one goes into rehearsal August 19, and runs Tuesdays through Sundays September 12 through 29. That would clearly make me unavailable as an actor for either Guild show, and it would make it pretty untenable for me to follow through as producer for either show. Of course, there needs to be a call back, and I have heard nothing about callbacks for the 13/14 HRTC season, yet. I haven't received the polite, diplomatic Thanks, but no thanks message, either, so there's still hope.

    I'm also looking at our DTG Christmas extra, and rare Guild musical offering, The Gifts of the Magi, music by Randy Courts, book by Mark St. Germain, lyrics by Germain and Courts. I think there's a role for me in this one, the homeless guy, Soapy. I don't know that I am hot for the role, but it could be fun. The caveat here is that there is a minuscule chance that I get a callback and a casting in The Race's own holiday musical production, The Fiddler on the Roof, book by Joseph Stein, music by Jerry Bock, lyrics by Sheldon Harnick. However, I don't even want to calculate the level of exactitude involved in the universe aligning for me to be on stage in this -- especially as Lazar Wolf, not only because I essentially blew the portion, of my 13/14 general audition for HRTC, that targeted Lazar and this show, but because that's a feature supporting role and the odds favor an established Equity character actor with much more musicals-experience under his belt, and perhaps typed a little closer to Lazar than I. *For elaboration on the "essentially blew" the audition reference, see my last entry above about my musical mishap at the generals, just ten days ago.

    Still, I have the libretto and a sound track of Magi, and I have a bit of time to study on it if I do audition, since those auditions will be on or around October 8 & 9. The only imminent need to read for DTG shows is for 45 Seconds, and I need to read that as producer, anyway. Need to read Time Stands Still as producer, too, for that matter.


  • NOPE ICON
    PROFESSIONAL GIG ICON
    A few weeks back I wrote of a potential paying gig where I'd be one of a few rabbis on a roof, mimicking playing the violin, as guests enter for a wedding. After an initial conversation with the person putting this together, I never heard back. As it was to have happened yesterday.....


    Tue, May 28, 2013

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    THE ACTOR PREPARES ICON
    AUDITION ICON
    FutureFest 2013 new play festival at The Dayton Playhouse
    I was able to at least get The King's Face, by Steven Young checked off the reading list, at the close of my day, yesterday. Pretty nice script and it wouldn't be hateful to portray Johnathon Bradmore -- there are certainly a few valid directions to take the character, some close to comedic, others more subtle.

    I've unfortunately cast an actor in the role in my head, the character actor Roy Brocksmith, who was all over scifi TV until his death in 2001. I think he appeared in most of the incarnations of Star Trek, from TNG onward, as well as one episode of Babylon 5: "The Deconstruction of Falling Stars," where he really could have been classified as a guest lead performer. He's been in countless other scifi TV shows and movies, including Total Recall, and has a long list of credits in other genres and straight drama, on TV and in full-length features, and I think maybe a pretty healthy stage carreer, too. At any rate, not long into reading the play I saw him as Bradmore.

    I must not allow Mr. Brocksmith to imprint on Bradmore in my mind or I will have a major problem shaking him. Not that I would carbon-copy him, but his strong presence in my head will influence what I do in audition and if I let him get stamped in there, it will be hard for me to excise him if I need to get to a Bradmore in audition -- or, in rehearsal and production -- that is miles from his work.

    Meanwhile, A Position of Relative Importance, by Hal Borden and On the Road to Kingdom Come, by Michael Feely are left to read for FF13.

    DTG Producer icon
    45 SECONDS FROM BROADWAY & Dayton Theatre Guild combined logo.
    Since I am, regardless of auditioning, also the producer of 45 Seconds from Broadway -- at least at the moment -- I am not sure whether I should read that next or one of the other FF shows.

    SOUND DESIGNING ICON
    Since I also will be doing the sound design for the show, it behoves me to start knowing the play so I can concentrate on that. I know Director Fred Blumenthal wants scene transition music that is thematic -- which is what he would have gotten, anyway. I also have no clue if any sound effects are needed.

    Plus, also, if there are roles for me as an actor, well, I need to read it for that reason, too, right?


    Film Dayton icon
    This is one of those months that I have the Film Connections night open, and I have tentative plans to be there tonight, though I may not make it. The agenda tonight is the relationship between the director and the actor, focusing on what the director needs to know about communicating what they want to the actor; there's a bit more but essentially that's the evening.

    Last year I participated as an actor, in a similar session of Film Connections, helping to demonstrate the difference between the smaller performance for the camera and the bigger one for the stage. This year improv games are being added to the demonstration, which will be interesting, yet, I still may opt to deal with other things tonight.



    Sun, June 2, 2013

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    CLOSING TODAY
    THE PILLOWMAN by Martin McDonagh, at The Dayton Theatre Guild.

    For mature audiences only

    The Cast of The Pillowman

    CHARACTER
               ACTOR
    Katurian K. Katurian            Patrick Hayes

    Tupolski
               Michael Boyd

    Ariel            David Hallowren

    Michael
               Joseph Risner

    Maria            Cora Hardern



    Wed, June 5, 2013

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    cool smile icon :
    xxxx
    Paul McCartney logo -- Extreme close-up of his eyes behind his autpgraph signature

    In Concert icon
    On a Personal Note icon
    The ticket, by-the-way, HAS arrived!    




    CATCH UP

    SERVE ME:
    FOR THE LOVE OF THE CRAFT ICON
    On Set icon

    Last Saturday we did .....................:
    THE DREADED ADR
    Okay, so, "DREADED ADR" may be small amount of hyberbole. Thus far the indication is that my ADR session went well and that Director Greg Nichols has fresh, better sound-quality dialogue to synch with the footage.

    As a refresher, or for those who don't know what ADR is, the acronym stands for Automated Dialogue Replacement. It's also known as Dialogue Looping or simply Looping. ADR is the re-recording of dialogue by actors in a sound studio during post-production, most often with the actors speaking while watching playback of the scene to better accomodate lip synchronization. The most common reason to use ADR is due to bad audio from the production track (the audio recorded on the shoot site) or to change the delivery of a line. "Bad audio" may be anything from too much background noise, poor audio pick-up of the dialogue, or signal noise picked up and recorded. Sometimes new dialogue is written and ADR is used to add/insert such into a scene; though such added dialogue can only logically be placed in the footage where the actor who speaks it has his or her face away from the camera or is off screen.

    In our particular case it was a sequence shot in a moving car and two other exterior sequences that were in the most need of ADR. Though Greg did loop another scene that was shot inside. The first thing we shot, which is toward the end of the movie story line, actually had good enough production sound (that recorded during the shoot) that Greg has been able to use a filter software to pull out some unwanted background fooz and use the original production sound.

    As for "THE DREADED ADR," it really wasn't as bad as another ADR session I was a part of. Between me doing a relatively good job of matching up my speech and the ability Greg has in editing to better match up the audio with the video, it's not probable that I will have to do another ADR session.


    VARIOUS AUDITION STUFF:
    AUDITION ICON

    PROFESSIONAL GIG ICON
    2013/14 The Human Race Theatre Company Generals -- Thus far I have heard no yay nor nay concerning callbacks. I know of a few actors who have callbacks; I don't know what they being notified already and me not being as of yet means. I do know I can at least say I have not yet received the "Thanks, but no thanks" notification. My expectation of landing a callback has weakened greatly, however.

    Commercial Audition Monday -- Had a screentest at the PC-Goenner Sharonville office Monday morning. It was for a local commercial in Charleston, South Carolina, the call by the casting agency that handled Army Wives, which I believe is about to, or just did, wrap its final season. The commercial will shoot in Charleston on June 10, so, with that being a 670-mile, ten-hour drive, oneway, it's safe to say I would be off from the rent-payer that day, and likely the next.

    I was already scheduled off for the 10th, for more oral surgery (last two wisdom teeth extracted), and I tell ya it just kills me to have called and postponed that dental appointment.

    I feel good about the screentest, for whatever that's worth. To be honest, I'm not wholly sure I am perfectly correct for the role, but I will leave that up to Casting. My reason for making the ninety-plus mile trip to do this audition is to once again put my face on a screen in front of this casting director (Richard Futch, CSA), who will be casting feature films as well as being the primary CD for Army Wives.

    FOR THE LOVE OF THE CRAFT ICON
    FutureFest 2013 new play festival at The Dayton Playhouse
    xxxx
    How I've been spending my lunchtime recently at the rent-payer; that would be Michael Feely's On the Road to Kingdom Come laying open in this photographed instance.
    Tuesday night I auditioned for the three fully-staged FF13 plays: A Position of Relative Importance, by Hal Borden, On the Road to Kingdom Come, by Michael Feely, and The King's Face, by Steven Young.

    By in large I think it went okay. I certainly don't think I tanked any reading. A couple I felt pretty good about. One of the directors even shared with me a most positive comment about one reading.

    I suppose the big turn of events is that I have reconsidered just how firm my commitment to the Wednesday, July 24 Steely Dan concert at the Fraze Pavilion is. The dress rehearsal week schedule is not yet finalized, as a better determination of pairing shows that will better facilitate shorter final dress sessions (two shows per day) is yet to be made. Traditionally, A Position of Relative Importance would have been firm for a July 24 final dress as it is the first show up -- the old system was the first two shows on Wednesday, the second two shows on Tuesday, the last two shows would start of Dress Week; don't ask me why that was the system but it has been as long as I've been involved. But the system is changing this year, so either or both of the others I am gunning for may be in that Wednesday slot. That makes my concert tickets a potential problem for all three directors. In addition, even if the show I am in does not have dress that day, being at the last rehearsal before the weekend begins may be desirable, and may be the strong desire (or demand) of the director.

    For about two minutes late last night I had the tickets on sale at a 30% discount. But then I decided to hold off on unloading them for the moment while I wait to see how the wind blows. I pulled the for sale sign as it were and posted an explanation that even though they aren't on the market right now, that they may become an untenable conflict with rehearsals and thus would then be back on the sales shelf. Two people have already expressed interest if they do go back for sale; one would be meeting my cash price; the other wants to make a trade. I really could not afford the $152 I spent for the tickets, to begin with. Recovering $100 of that is much more attractive.

    As for the McCartney show in Indianapolis on July 14: yeah, I'm going to that one -- cool icon. Actually, that date is not at all likely to pose any problems; in fact, I'm very confident it won't.

    Second night of auditions for the three fully-staged shows is tomorrow -- actually all six shows audition tomorrow. I will be there, though likely a tad late as I have a DTG board member task to attend to until just about 7:00 or a little after.


    MOVIE PRODUCTION STUFF ICON
    'BE OR NOT' icon

    Perhaps this is, in the scheme of things, a minor hallmark, but still IMDb has finally listed Be Or Not, which has been out for more than a year. So now I have one IMDb credit as an actor and one as an auteur. Actually, in the production section I have a few credits for Be Or Not, but the main thing is the movie is there and that some of my friends now have their first credit and others have a new credit added to their already existing profiles.

    Check it out at: www.imdb.com/title/tt2934666

    One little snafu. IMDb listed Craig as another Craig Roberts for Be Or Not. It's because I filled out the form at IMDb for this before Greg Nichols had a final cut of The Wonderland Express, which Craig is also in. But IMDb had not accepted Be Or Not when Greg filled out the application for his film; the result was that Craig had no other credits at the time, so we both listed Craig, independent of each other, as a "new" Craig Roberts. Wonderland made it in months ago, so Craig was listed with IMDb through that as Craig Roberts (XIV). Since I had entered him already as a new Craig Roberts, when mine was finally accepted, which has been sometime very recently, Craig Robert's was not associated with Craig Roberts (XIV), and a new Craig Roberts (XVIII) was created.

    I have submitted a change to have the Craig XIV profile that lists Wonderland as the Craig Roberts in mine. I also have submitted a reorder so he and Natasha are listed as the principal leads at the top of the cast list. In my submission for the change I explained that XIV and XVIII are the same actor, that I was deleting XVIII and adding XIV so Craig has both his movie credits on one profile page.


    No word yet, by-the-way, about whether Be Or Not has been accepted for screening at the 2013 Eichelberger FilmDayton Festival.


    PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS

    DISCLAIMER

    I will not even begin to claim that I am at all any good at keeping up-to-date in a comprehensive manner with all the great work and cool gigs being engaged in by all my friends and colleagues in the theatre, movie and music worlds. There is no question in my mind that at any given time, some fabulous performer whom I know is up to something worth mentioning that I either am unaware of or it has slipped my mind is happening. My omissions are in no way slights to the talented folk I have the pleasure to know. It's just the happenstance of ignorance or stupidity on my part.

    With the disclaimer out of the way: The lovely and amazing Taprena Augustine is currently in a production of The World Goes Round at the Florida Studio Theatre. She has been for a few weeks, I believe. I had lost the info, but regained it and so I give this immense talent a shout out and a BREAK A LEG!


    In the audience icon

    Avenue Q -- I will be heading to The Human Race Theatre Company tonight for the "Can Night" final dress rehearsal of this great, fun show. I am still more than a little sorry that I am not on the stage in this one. Still I am confident it will be an amazing experience. There's a good chance I go back during the run to see it again.

    PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS
    Break legs to Andrew Ian Adams, Shawn Storms, Sean Michael Flowers, Kevin Anderson, Kay Craver, as well as the rest of the cast and crew

    A Funny Thing Happened on the Way to the Forum -- Hope to get to this one at The Dayton Playhouse, too. I am likely to catch it next weekend rather than this one. This will be the second time I've seen this. beyond that, at least one of you five regulars may remember that this was the last show I was in before my long hiatus from acting. I was Pseudolus in the Wilbur Wright High School production in the spring of 1977. Brad Mattingly has the role in this production, and I think it's safe to say he's gonna far outdo me as a singer.

    PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS
    Break legs to Brad Mattingly, Brad Bishop, Saul Caplan, Matthew Glenn, Mary Mykytka, Jaimie McQuinn, Jeff Sams, Richard Young, Richard Brock, Jennie Hawley, John Falkenbach, and the rest of the cast and crew, whom I don't know yet, but surely will at some point.



    Thu, June 6, 2013

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    AVENUE Q AT THE HUMAN RACE THEATRE COMPANY:
    In the audience icon

    Final Dress last night was a slam-banging good time! Big hats off to Katie Pees (Kate Monster/Lucy), Andrew Ian Adams (Bad Idea Bear 1, Third Hand, and New Tenant), Shawn Storms (Gary Coleman), Director Joe Deer, Musical Director Sean Michael Flowers, Kevin Anderson (percussionist extraordinaire), Kay Craver (stage manager), Ayn Wood (crew), Tristan Cupp and the Zoot Theatre gang (puppet designs) and all the rest of the cast and crew for a great final dress. Here's hoping for a great run with many broken legs along the the way!

    I am now even more envious of not making the cast than I was before!    sad icon

    Catch this before it closes! Preview tonight and Opening Night tomorrow. It closes June 29.


    AUDITION ICON
    FutureFest 2013 new play festival at The Dayton Playhouse

    Tonight I return to The Dayton Playhouse for installment number two of auditioning for the three fully-staged plays at this year's FutureFest: A Position of Relative Importance, by Hal Borden, On the Road to Kingdom Come*, by Michael Feely, and The King's Face, by Steven Young.

    I will be a few minutes late as I have to be at my home theatre DTG until 7:00. But the FF directors are likely to audition new faces first anyway; and since the directors for the three staged readings are also auditioning their shows tonight, I would likely not have been called up until sometime after I will arrive, regardless.

    *) As opposed to Night and Fog, which was Michael's 2009 FF entry -- and the festival winner -- which is what I inadvertently originally identified in yesterday's post as his new entry.


    ANOTHER HRTC ADVANCED ACTING CLASS:
    PROFESSIONAL DEVELOPMENT ICON

    Just sent off the registration for the summer "Advanced Acting Techniques" class, the latest installment in the HRTC adult classes. Again, Kay Bosse is the instructor. The class starts the second Monday in July:

    Classes are held in the Caryl D. Philips Creativity Center, 116 North Jefferson Street in downtown Dayton.

    Advanced Acting Techniques
    Mondays 5:00 p.m. - 7:00 p.m.
    July 8, 15, 22, 29 and August 5, 12
    Fee: $150.00
    Instructor: Kay Bosse

    Welcome returning and advanced acting students. Expand your repertoire and improve your acting skills in a relaxed and positive environment. Through scene study and cold readings, you will be working on strengthening your performance abilities. Scenes from the classics and contemporary works are personally selected for you based on your interests. The class concludes with an informal performance showcasing the strengths of each student.

    click here for Adult Classes page to register on-line or download a registration form



    Fri, June 7, 2013

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    AUDITION ICON
    FutureFest 2013 new play festival at The Dayton Playhouse

    The task at The Guild lasted a little longer than I anticipated, so I was close to an hour late for the final FF13 auditions last night at DPH. I was not read again for A Position of Relative Importance, by Hal Borden, which did not bother me much. The only role in that for me is not one I have any great designs on. I was read again for both On the Road to Kingdom Come, by Michael Feely, and The King's Face, by Steven Young.

    In post audition some of us actors talked of the roles we are more interested in and have higher desires for. My two would be the character Maj. Gen. Jason Harrington in Kingdom Come or Johnathon Bradmore in King's Face. Bradmore probably a little more because, strictly for ego's sake, it's a lead role. Otherwise, and more importantly, it's a challenge in character work. Jason, on the other hand, is not new territory for me, and strictly for ego's sake, is a supporting role. But, accepting Jason would not be like some times in my past when I have accepted roles very reluctantly and believed (and in every case I was not alone in my belief) that I was being under-utilized.

    Of the two, Bradmore is the plum role, though. That cannot be argued against successfully.

    The casting should be announced sometime soon.


    SOUND DESIGNING ICON
    In a related note, Kathy Mola, who is directing St. Paulie's Delight, by Jacob Cox, has asked me to design sound for her show.



    Sat, June 8, 2013

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

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






    I HAVE A FREE TICKET FOR ON THE ROAD TO KINGDOM COME, THE SATURDAY NIGHT, JULY 27 PRODUCTION AT FUTUREFEST 2013:
    FOR THE LOVE OF THE CRAFT ICON
    FutureFest 2013 new play festival at The Dayton Playhouse
    YEP ICON
    ON THE ROAD TO KINGDOM COME by Michael Feeley at the Dayton Playhouse FutureFest 2013 new play festival.

    I actually knew this when I posted yesterday's entry, but I have been cast as Jason Harrington in Michael Feely's On the Road to Kingdom Come, directed by Saul Caplan. I held back mentioning it because I wasn't sure if it was okay to put out the word yet. But I've since seen other actors announce their casting in some of the other five shows.

    Jason is a Major General in the U.S. Army and a member of the Joint Staff in 1975, who I am simply sure is the younger cousin of Col. Gregory Stratton, the post-WW II press liaison in the American sector of Berlin, Germany, 1948, whom I played in Michael's Night and Frog, which won FF09. That is, of course, a cheeky way for me to say that Jason and Greg are the same archetype of a career military officer. It is not to say that I think it's the same guy. On the other hand, Jason is not new territory for me as an actor, so the excitement of a new challenge as an actor is missing here. It'll still be a good experience.

    The first rehearsal, the read-through, is Monday night. I start the line memorization process today. No such thing as "off-book too soon."

    The Cast of On the Road to Kingdom Come

    CHARACTER
               ACTOR
    Col. Thomas "Tommy" Corcoran            Shawn Hooks

    Cpt. Rachel Weiss            Jennifer Lockwood

    MG. Jason Harrington            K.L.Storer

    Robin Corcoran            Alma Sove

    The General            John Bukowski

    June 18 Addendum:
    Ms. Sove has had to step out of the role of Robin Corcoran and Ms. Heather Martin has stepped in.



    June 14, 2013!

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    Commemorating Flag day 2013 -- also, a certain south-western Ohio actor celebrates a birthday today




    The U.S. Flag is 236 years old; the SW-Ohio actor is considerably younger      big grin icon




    All the "Diary of Artful Things" things will show up sometime tomorrow

         or Sunday



    Sat, June 15, 2013

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    ON THE ROAD TO KINGDOM COME by Michael Feeley at the Dayton Playhouse FutureFest 2013 new play festival.

    The first rehearsal, the read through, happened as scheduled last Monday. The rehearsal, itself, went well enough. I, of course, never like that I barely have a handle on the character and thus give a pretty lame reading at the table read. Not always as undeveloped and lame as this one was; this one was, indeed, pretty lame. It's, of course, to be expected at this point in the game, but I still don't like it; I'm impatient to get to the better work, which you five regulars may remember from my past self-critical whines.

    Of the cast, I have worked with only two fellow actors, John Bukowski, in The Diviners at The Guild and American Buffalo for Springfield StageWorks. Jennifer Lockwood and I were both in A Case of Libel at The Guild, but had no scenes together. Though I've seen Shawn Hooks in a few shows, (all FutureFest plays, I believe), we work together for the first time. This is also the first time I work with Alma Sove, who is new to me, completely.

    THE ACTOR PREPARES ICON
    xxxx
    xxxx
    My June rehearsal schedule is pretty light. I am called to only three more rehearsals, with a possible fourth. This of course means I have plenty of time to work on my lines, that process which has already begun with the infamous flash cards. See me on my front patio in the process of writing them in the pics to the right.

    In fact, for all the nights I am not called the printed June schedule has the words, "Study Lines." As if I needed that instruction.

    I don't think I'm going to bother recording the lines for this one, though I may change my mind. But it would not be as much a necessity as it would have been had I been cast as Bradmore in The King's Face. Bradmore carries half the two-act play; there would have been a lot more words to burrow into my memory. So good luck Chuck Larkowski, who was cast in that role.

    It seems I should be able to be very familiar with the pertinent lines when I get to my next rehearsal, which is next Wednesday, even if I'm not what one can call "off book." Should be able to do that all the way down the line.

    We'll see.

    June 18 Addendum:
    Ms. Sove has had to step out of the role of Robin Corcoran and Ms. Heather Martin has stepped in.


    On a Personal Note icon
    xxxx
    40 mph + dog in road + swerve + concrete curb = tire that can't be fixed
    Going back to last Monday, the read through went well. My trip in to that rehearsal, however, not so much, as the photo to the right shows. On my drive to the rehearsal, while I was on a throughway close to the theatre, a dog ran out in front of me and I swerved to miss it and rammed my right front tire into the curb, blowing the tire out. It was with a big, ol' BANG! that exploded pretty much the same instant my foot hit the brakes; it sounded like a gun shot. Fortunately, there was light traffic so I had no one plow into my rear end, or any other equal or worse auto-mishap. $105 for a new tire.


    Sound Design for FutureFest 2013 new play festival at The Dayton Playhouse

    As you five regulars may know, Director Kathy Mola asked me to put together the sound for her FF show, St. Paulie's Delight, by Jacob Cox. Debra Kent, director of A Position of Relative Importance, by Hal Borden, also asked me to put her sound together.

    Both seem relatively easy.


    PROFESSIONAL DEVELOPMENT ICON

  • Advanced Acting Techniques at HRTC with Kay Bosse -- I have registered for the next advanced acting class at The Race, as I said I was planning. First session is Monday, July 8.

  • Acting in front of the Camera, through PC-Goenner, with Shaunn Baker -- Shaunnn, from World Stage Media is the instructor for this at the agency office in Sharonville. It starts June 22 for four Saturdays. If it goes. I have responded with interest, but have heard no further info on it.



  • A COMEDY TONIGHT:
    In the audience icon

    Tonight I and some friends see what is being touted as a great production of A Funny Thing Happened on the Way to the Forum at The Dayton Playhouse.



    Sun, June 16, 2013

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    I know there are those whom Loius C.K. rubs the wrong way. In my estimation, they just aren't in on the joke. I think he's great and this is a perfect illustration of why I think he's great.

    Happy Fathers Day!



    Mon, June 17, 2013

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    HEALTHWISE ICON
    On a Personal Note icon
    DENTAL SURGERY!
    Friday I was off work, a vacation day, ya know, because of Flag Day. Today is a sick leave day. This morning I will have both my upper and lower left wisdom teeth extracted.

    Understandably, tonight was on my list of conflicts with rehearsals for On the Road to Kingdom Come, with tomorrow night as a high potential for conflict. I'm not likely to be at the the rent-payer tomorrow, either.


    Again, all the "Diary of Artful Things" things will show up sometime tomorrow

         later tomorrow,
           much later

    or Tuesday    (Wednesday  ?)      



    Tue, June 18, 2013

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    Picture of Paul McCartney playing bass, perhaps about two years ago. Text: Happy Birthday Paul


    "Diary of Artful Things" things:

    TOMORROW


    Wed, June 19, 2013

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    ON THE ROAD TO KINGDOM COME by Michael Feeley at the Dayton Playhouse FutureFest 2013 new play festival.

    CAST CHANGE:
    Earlier this week Alma Sove had to step out of the role of Robin Corcoran. Heather Martin has stepped in. If there is anyone reading this who is not local, Heather has been in Dayton theatre for quite a while, and though she's been in several DTG productions since I came into Dayton theatre and the Guild world, this will be our first time to share a stage.

    LINES:
    THE ACTOR PREPARES ICON
    HEALTHWISE ICON
    Here's a tip for ya: prescription-strength Tylenol #3 does more than "MAY" cause drowsiness.

    I did not get as much line study done over the weekend as I would have liked. Then, for some reason, I made a rather silly assumption that after my dental surgery yesterday it would be a good chance to get a lot of study in. I'd forgotten that the post-op pain killers would lay me out. I slept most of the day Monday after surgery and most of the morning yesterday. Plus, don't let the semi-lucid state of the prose in today's post fool you. The Tylenol #3 and the Ibuprofen 800 mg have sluggished-up whatever mental acuity is normal for me, so it's all taking much longer than usual to work on. It's part of a multi-tasking fiasco where intellectually numbed-out line study is a portion of the cycle, along with work as producer of the Simon show *(see below) and other stuff.

    The multi-tasking (if a little anesthetized) is actually helping with all the different undertakings as the pain relief meds are making extended focus on anything a challenge. For instance: even more so than usual, today's post was hardly worked on today. It has been written in bits and pieces over the the last several days, in between the other tasks and a lot of recent napping.

    Work on Mr. Feely's dialogue has been one of those tasks, equally intermittent with everything else, and I have not acquired the level of keenness on Jason's words or character I would like to have arrived at. So-oh-well.

    Rehearsal tonight.


    PREPRODUCTION:
    DTG Producer icon
    45 SECONDS FROM BROADWAY & Dayton Theatre Guild combined logo.

    The process of trying to assemble the creative team and the production crew for the show is underway. At the request of our director, Fred Blumenthal, I have approached both the lighting designer and the costumer he wants. Neither have yet to give their answer, so I am starting to look at the contingencies if either turns down the gig. I need to get an answer from both quickly so I know if I need the contingencies. We have our stage manager and our sound tech; I am designing the sound, but I do need a lighting tech and we are likely to need run crew.

    I've gotten quite a few inquiries about the upcoming auditions and I have sent appropriate answers to each, or, to most of them. A few have been inquiries from actors very far off, one from Canada. I think some casting site that works as a kiosk or a clearing house or some sort has harvested our casting information via a web spider. The actor have all sent identically worded emails (save for their names and the characters they are interested in). They seem to not even be aware of our non-professional status. Another actor, the Canadian, whose original email was not the same template as the others, even requested information on travel expenses and local boarding during the rehearsals and production calendar.

    Of course, I sent emails to all these explaining that The Guild is not an Equity theatre nor otherwise a professional theatre, that we are a 501.c(3), none-profit community theatre. I tell them that all those involved in our productions, talent and production team, participate on a volunteer basis for the love of the art and craft of theatre. I then do assert that we do, however, approach our productions with high professional attitude and are considered one of the best stages in the area, professional or non-professional. It may be bragging but it's still true that most actors in the area can't wait to debut and/or return to our stage, even those who work professionally or semi-professionally in the area and region. But, I point out emphatically that Equity actors, however, are not eligible to be cast at The Dayton Theatre Guild due to AEA union rules.

    I also sent some solicited advice to some who are newer or very new to acting, one who even said she was "excited to step outside of [her] box and stop being afraid and finally do this." I advised this lady and some others that any ideas they have about the characters they are interested in should be worn like a loose garment in case the director asks them to try a different approach to the characters' personalities. The less, I asserted, they have locked themselves into one interpretation the easier it is to throw those interpretations aside if they need to.

    Further, I told them it is not required that they attend both nights of audition, but if they can, that's better. It gives the director more chance to pair each with more other potential cast members and he will get a better idea of chemistry, look and feel. A lot of times the final decision of who gets cast, after considerations of ability, has to do with who seems to be a better fit. The more he can see contenders with different other contenders, the better he can see who seems to work better in a potential ensemble of players.

    Also, I warned that conflicts with rehearsal toward the end of the process are a big problem. And obviously actors must be available for all performances. The actors will need to be at the theatre one hour before the curtains. I attached the rehearsal and performance schedule as it stands right now. It is subject to some change, The performances will not change. I affirmed that attending the Tech Sunday rehearsal on Aug 18 and the following tech/dress rehearsals is very important. All of the rehearsals are important, but as we get closer to opening they become more so. And someone who has to miss a lot of rehearsals, even early, is going to be less attractive as a viable cast member.

    That being said, the most important thing to remember is to relax and know that those auditing the audition do not want to see the actors fail -- they are rooting for the actors. I advised them keep a few things in mind: not to worry if they stumble over a word, just fix it and move on, but do not apologize, just fix it and move on. I told assured them they will not be expected to give an Opening Night performance level reading, just one that shows they have instinct and ability to act. And if the director asks them to try something different, do it, to not worry about it being perfect, just to give it a shot.

    Lastly, even though it's an audition for a community theatre production, for no pay, I told them to know that the Dayton Theatre Guild approaches its productions with a professional attitude and atmosphere. Beyond the things unique to auditioning for a play, the audition should have the demeanor and professionalism of any job interview.


    A FUNNY THING HAPPENED ON THE WAY TO THE FORUM LAST WEEKEND:
    In the audience icon

    The rumors were true! Forum at The Dayton Playhouse was a rollicking good time. Remember that I was Pseudolus in May 1977 in the Wilbur Wright High School production, my senior musical. Call me bias, but our production -- as all our productions were -- was pretty damned good, and I am always perhaps a bit too critical of other productions of shows I've been in. This is the second time I've seen a production since, and though the first was good, I found this one even more enjoyable.

    Kudos to Director Jim Lockwood and the cast: Bradley R. Mattingly (Pseudolus), Brad Bishop (Hysterium), Saul Caplan (Senex), Claire Hurley (Domina), Matthew Glenn (Hero), Mary Mykytka (Philia), Jamie McQuinn (Lycus), Richard Young (Erronius), Jeff Sams (Miles), Naman Clark & Suzanne Clabaugh & Malcolm Casey (Proteans), Sarah Jordan (Tintinabula), Tamar Fishbein (Panacea), Rikki Overman & Kali Jordan-DeBruin (Geminae), Krista Stuber (Vibrata), and Marabeth Klejna (Gymnasia).


    Paul McCartney logo -- Extreme close-up of his eyes behind his autpgraph signature
    In Concert icon

    http://en.wikipedia.org/wiki/Out_There!_Tour

    Here is the Paul "Out There!" tour Wikipedia page, because:

    Why Not?


    Thu, June 20, 2013

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    Note Addendum PS icon
    CONGRATULATIONS!

    To Miss Lissa (AKA: Melissa Young/Melissa Nicole Henry) and her new husband, Eric Henry, on their wedding last evening.

    HAVE A WONDERFUL, PROSPEROUS LIFE TOGETHER AND
    R O C K   O N ! !



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