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

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Wed, Oct 2, 2013

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On Set icon

This past Saturday night the wrap party for Greg Nichols's Medicine, featuring Alex Carmichal, Chuck Larkowski, Ayn Wood, and myself, finally occurred, at Alex's abode. Alex's house was the location for the production, if you five remember from those blog entries.

The movie was screened twice while I was there -- I was taking a break from programming the Time Stands Still sound at The Guild, only about a two-minute drive from Alex's. I have to tell ya, I was plagued by the same ol' same ol': I just don't much care to watch my work on screen. In this case it wasn't at all that I disliked the work or had any sort of disappointment about it; I simply don't like seeing myself act. It's, I think, the presence; I think I don't find my presence terribly compelling. As you five may know, I like seeing video of my stage work even less than I do what I am performing for the camera.

Fortunately for my fragile ego, others like my presence, both on screen and on stage; others are not as critical of my physical movement, which I have before expressed dissatisfaction with, which I am still not satisfied with. At the party one of the attendees sought me out to tell me how convincing she found my work in the movie -- so, there's that. Who am I to correct someone else's response to creative art?

On a less self-flagellating note: Medicine is good work and everyone -- I suppose myself included -- deserves major congrats for a fine piece of short horror. The cinematography looks great; the sound track kicks ass (music composed and performed by Matt Hayden); the actors' performances are all very nice (probably even mine); Jacklyn Alexa's special effect makeup for Ms. Wood is killer.

Thus, more good work to which I am attached.


FIDDLER ON THE ROOF  at The Human Race Theatre Company
THE ACTOR PREPARES ICON

Friday night is the start of Fiddler rehearsals at The Race. I am looking forward to it. The question is, with the cast as big as it is, will the non-Equity actors, like myself, be in the actual dressing room? We might not. My understanding is that the Equity actors vote to allow the non-union actors in, or not.

I've been listening to the Original B'Way cast album. The last time I sang "To Life" on stage, at seventeen, I was Lazar Wolf, who songs much of the song as a duet with Tevye. This time I will sing Rabbi's part, which is the blessing, that starts with one, long, strong high note, which I believe is the F above middle C -- (based on me just matching it from memory, on the keyboard app on my smart phone). That F or otherwise, it is a note I can hit, but I still need to get my voice in shape again. You see, I do regular vocal warmups the same as I frequent the gym -- sporadically, at best.

As I wrote last week, I have a vocal score and a libretto of the show to at to be at least a little ahead of the game Friday. I also have a copy of the David Alan Stern Yiddish dialect CD. Of course, I have the B'Wat sound track to hear the Yiddish pronunciations, as well.Let's see now if I can squeeze some time in to sit down with it all and at least get somewhat familiar with both the melodies and the pronunciation of the Hebrew words I sing.

By the way, if you are on facebook, The Human Race has posted a few cool pics of the scale model rendering of the set: Click here to see.


TIME STANDS STILL & Dayton Theatre Guild combined logo.

DTG Producer icon
Tech Week is at the midpoint. The show is looking pretty damn good. The cast brought it home and then some last night; they have all settle into most convincing versions of their characters. Blake Senseman's set has gone from great to incredible. Two more rehearsals, tonight and tomorrow. Because of Fiddler I have one chance to see the show, this Saturday; I will be there as much as sound designer as audience member, as that is my only chance to hear the sound balanced against and room full of people, which does change the dynamic of the sound volume levels. That is my only chance to tweak anything that needs tweaked.

SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Now that you mention "sound"....

In real ways, I have been working on the sound for several weeks. A while ago I did the inventory on what sound effects were needed and without checking my library, I knew I had everything. And there are not many. The big deal was the city ambience. I took what I had mixed together for 45 Seconds from Broadway and tweaked both the Act I and Act II files. And I grabbed a big slew of songs as potential production music. Saturday, I went in to the theatre to program the sound design into Show Cue Systems. All that was left to pick was the song to close the show and use for the curtain call. On the way in, I heard the perfect song; it was part of a collection I just happened to be listening to on my car's CD player.

I made edits of the production music as well as some of the sound effects, for instance I upped the pitch on a wireless phone ring sound file to make it better suggest a cell phone ring tone, as one of a couple choices for the ring tone effect.

About 1:00 Saturday I was ready to start programming. I took a three-hour break I mentioned above, to go to the movie wrap party. I finished the programing about 5:15, Sunday morning. Yes, this was another of my occasional sleep-overs at The Guild. I pretty much planned it or at least prepared for the strong possibility by bringing a sleeping bag, toiletries and a change of clothes.

PRODUCTION GREMLIN ICON
Had a couple nervous moments with the sound system Monday night. When I booted everything up we had no sound coming out of the speakers. The meters were showing sound playing, but we heard nothing. I restarted SCS, but there was still no signal going to the speakers. Then I rebooted the computer and we got it back, but at first the volumes seemed a little low. I pushed the master pot on the computer. Later, when we ran the show, it was all too loud.

I had thought the master was at 51%. That was what seemed too low when we first got the good reboot. But at the end of the night we were back at 51% and it seemed correct. Don't know what that was all about.

The probably culprit is a driver that didn't load properly, or at all, when we first turned on the pc. We've decided to keep the pc on for the duration of the weekends of performances, and during tech week. Which means we are leaving it on from Monday evening of this week until the performance is over this coming Sunday. It also means we need a sign to tell people to NOT turn off the power stip the computer is plugged into -- shutting a Windows pc down improperly is a dangerous thing to do. The operating system can get corrupted beyond repair.

Last night, the sound balance of seemed pretty close to perfect. We'll see what I think after saturday's show.

DTG Podcast Production logo
The editing begins today. As to whether it ends today is a good question. I suspect the answer is that it will not end today, but we'll see. I have, taken the day off from work and scheduled myself for a tentative day off tomorrow. It really does need to be done by tomorrow or I have a big problem. With Fiddler rehearsal starting, there is virtually no room to work on the podcast past tomorrow; and I'd rather be done today.

For the record, the collective files for the DV movie take up 1.04 terabytes on the new 4TB External Hard Drive. That's one-fourth of the space on the whole drive. That is going to be a problem at some point, oh, just a few more podcasts away. I'm thinking that once I lock a final cut down and render it. The source material in the capture scratch, are getting deleted off drive -- probably I'll keep up the duel backups on two separate backup drives; which means I am buying a lot of backup drives. It also informs me that when I get to actually shooting and editing longer movies, I'll need a bigger external to work on.

Enough of that. Off to edit a podcast now....



Fri, Oct 4, 2013

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OPENING TODAY
TIME STANDS STILL by Donald Margulies, at The Dayton Theatre Guild.

CLICK HERE TO SEE THE PODCAST



Mon, Oct 7, 2013

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OFFICIALLY IN REHEARSAL:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Two hours before Time Stands Still opened at The Guild on Friday, the rehearsal period for Fiddler began. Vocal Director Janet Yates Vogt took us through the first sit down of the songs that use the ensemble. Once again, as has been the case in that building before, my mode was: just slightly intimidated by the trained vocalists in the room, all who can kick my butt musically.

Saturday and Sunday were shorter days than originally scheduled, but I have a feeling this is a phenomenon that will stop happening shortly. My calls were originally for 11:00 a.m. and both were changed to 1:00 p.m. Actually, Sunday it was 1:00 for the whole cast, though I'm betting production staff were there earlier.

DOH!
I erred in an assumption and I'm a little bummed about it. In listening to the B'Way cast recording I thought there is a section in "To Life" that is a blessing sung by Rabbi. As it turns out, it's a toast sung by a Russian. It's a more or less challenging vocal part, but one that I can handle; it's a nice part, too. I was looking forward to it. But, alas, no.

Saturday was a very short day for me. I was in at 1:00, I worked on two songs ("The Rumor" and "To Life") and was dismissed at 2:30.

Sunday the whole company was together, 1:00-6:00 to learn Chris Crowthers' choreography for the opening number, "Tradition." If my butt has been kicked as a singer (at least I actually have what can be called good vocal ability), as a "dancer" it has been pulverized. Let's face it, I don't have two left feet, I have three. It's generous to use the words "dancing" and "ability" in the same sentence, concerning me.

"Tradition" is a big number with a lot of individual working parts to the choreography. I did my best to keep up, but man did I lag behind. I just am not wired well to have a lot of different dance movement information given to me in a short period of time and embed it in my brain and body very quickly, certainly not as quickly as the trained dancer in the room. But I have already been going over it, physically and mentally, and will continue to do so. I'm sure I'll get to at least a passing level.

The hardest thing for me is in the ensemble walk out onto the stage. We are stepping in rhythm and we are up on the down beat and down on the up beat. My body does not want to do that; it keeps adjusting me to down on the down beat. It's going take the most work on my part to get that right. Second hardest for me to get will be a step sequence we do later, with which my three left feet are not cooperating well.

There's no question a lot of my problem is my self consciousness about my dancing "ability" and my movement on stage in general. It's one of those get over it and soldier forward situations.

At this point I of course know the whole cast list, but I won't reveal it here until The Race has released it to the public; they are yet to do so.

I mentioned a few days back that there were photos of the scale model of the set on the Human Race facebook page. At least two of those photos are now at The Race's formal web site: Click here.

And one final note: so far all evidence says I am once again in the company of a most talented group!


FIRST WEEKEND DOWN:
TIME STANDS STILL & Dayton Theatre Guild combined logo.

DTG Producer icon
In the audience icon
The first weekend is down, and reports are that the show went well all three performances. I was in the audience Saturday evening and can say that it was a good show Saturday. There were four honest, authentic performances on the stage. I'm sorry to report it was a pretty small audience Saturday, maybe two dozen people -- certainly not the numbers the production deserves. I was there at the tail end Friday when the show let out and know there was a much bigger crowd, if not a full house. And I caught some of the cast and crew at dinner after the show yesterday and know they had a bigger crowd than Friday.

The audience response has been very favorable, so word of mouth -- and social media -- may swell the numbers for the remainder of the run.

SOUND DESIGNING ICON
After Fiddler rehearsal Saturday afternoon, I dropped by and tweak a sound -- a car alarm -- based on input from an audience member in the Friday evening crowd. He found the car alarm too loud and long (it was a minute long), thus, distracting. Since it was a separate file, not part of the general ambience sound file, I was able to drop the volume; I also cut it to thirty seconds. However, Saturday evening, when I was in the audience, I did not hear it. So, after the show, I pushed it up just a bit.

I'd also pushed the volume on the pre-show and intermission when I was in Saturday afternoon. That evening it was clear it was a little too loud. So, I dropped it down a bit while I was there that evening.

That's it though. I likely get no more chances to be there.

DTG Podcast Production logo
For the second time in a row, I missed my deadline for having the podcast live at youtube. I did not get to final cut until Saturday morning, having used TWENTY-FIVE HOURS of my vacation time, needing to take last Wednesday through Friday off -- *(Friday was to have been a nine-hour work day). Some of the problem was that I did not have much other time than daytime those days to work on it. Often I can get a lot of the work done the weekend of tech and also during the evenings of tech week after I have shot the tech/dress footage. This time I had to be there all those times as sound designer.

Final Cut Pro X icon
The other issue was using Final Cut Pro X, an interface, as you five will know, that is mostly new to me. That slowed things down, frequently, as I had to search the manual or youtube how-to's to learn executions that are second nature to me in Final Cut Express. But, now I am starting to get familiar with the FCPX software. Still don't like it.

The original rendered HDDV movie file is 34.96 gigabytes, while the compressed version comes in at almost exactly 10%: 3.63 gigabytes, with no discernable loss of quality. Of course, with my internet connection at home being DSL at the speed 3 megabytes per second, uploading 3.63 gbs takes a little bit of time. The upload to the DTG youtube channel was initiated at about 4:45 p.m. Saturday. It finished at noon on Sunday. It also took youtube a couple hours to process the video after it was uploaded. During a break from Fiddler rehearsals Sunday, I posted the video to the DTG facebook page probably about 2:30.



Tue, Oct 8, 2013

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REHEARSAL CONTINUES:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Last night started with a meet-and-greet with the HRTC benefactors and board of directors, where Kevin facilitated an introduction to the creative team, the creative concept behind this more intimate production of Fiddler and an introduction to us twenty-five cast members.

After that was done we went to the rehearsal studio and sat down with the full librato and ran the show, dialogue and music. The only exception is that Kevin and Choreographer Chris Crowthers had us run the choreography for "Tradition" and we did work parts of it. As for me and my three left feet: it wasn't perfection but it certainly could have been worse.

The run through was almost a sitzprobe, with Instrumental Director Jay Brunner and Violinist George Abud (The Fiddler) joined Vocal Director Janet Yates Vogt to give this sit-through read/sing -- (I'm sure there is a correct technical term for this) -- better accompaniment color than just a piano would. When that was done Kevin gave us some notes then Janet kept those of us who sing in "The Rumor" to work that a bit.

As for that section in "To Life" that I thought was a blessing sung by Rabbi, but is actually a toast sung by a Russian: well, kast night I heard the actor who plays that Russian, Fyedka, (Adam Brown) sing the part. Gotta say: yeah, I could have handled the vocal; I could not have done so as Mr. Brown does.

In theory, I have tonight off from rehearsal -- in truth, I just work-shed at home. Believe me, I got a lot to work shed!



Wed, Oct 9, 2013

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MY OUT-OF-REHEARSAL WOOD-SHEDDING CONTINUES AND OTHER OBSERVATIONS:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

THE ACTOR PREPARES ICON
NO TV ZONE - SUSPENDED
First of all, since the Saturday before Tech Week for Time Stands Still I have been technically in a forced No TV Zone at home. The production needed a new flat screen TV that works, so I loaned mine. I have not had a TV at home I can use since September 28. However, this "forced" No TV Zone is only "technical" since I could watch stuff on Netflix and Hulu on my laptop -- and must admit, I did, at least a few times. Now, No TV Zone has been cancelled, however; the "forced" part, anyway. Yesterday, I bought the smaller, 24-inch, flat screen that I would have bought right when I loaned the TV had it not been for the need to buy the new computer for the tech booth at The Guild. I'd been thinking for months about getting a second, smaller TV for my bedroom, and the need to loan the bigger one simply moved that plan up. I mention this because, being a child of the TV era, watching TV is a bit too second nature to me. So, I cut somewhat into what could have been wood-shed time to testrun the new TV.

Still, I did work on the show last night at home. I have a bit of lyrics and vocal parts to get down. I edited all the songs I am in so that certain sections are their own sound files and I can play just one of those at a time in a loop, sitting down with the sheet music and the libretto to get solid on each, then move on.

Then there's my choreography for "Tradition," of all of the sequence of steps, movements, and smoothness of execution need much, much, much honing (!).

Like last night, I'm not called to rehearsal tonight, either, so more wood-shedding. Let's see if I can stay in the No TV Zone. Tomorrow the production is dark so it'll be more of the same. I do need to fit doing my laundry into these two evenings, but even doing laundry is still a chance to wood-shed -- probably, while I'm in the laundry room I'll work on lines and lyrics rather than vocal lines and dance steps.

Note Addendum PS icon
Though I've seen the cast list in media, I still am not posting it until The Race has done so. But, let me say, about Monday's rehearsal, something that, for the overwhelming most part, I neglected to say:

I am in the midst of a very talented cast who impressed the hell out of me Monday night even more so than over the weekend.

It was just the first read/sing through of the play and I was at times moved to tears by particular moments of acting and singing. Further, there were overall a lot of wonderful voices in that rehearsal room. Once again I am left with the personal statement:

Yeah, it's true that I can sing; but these people can Sing!

Just had to add that.



Mon, Oct 14, 2013

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xxxx
Today's entry has nothing to do with my so-called artistic life. Nevertheless I felt compelled to write and post this.

A young man I am very fond of passed away this past week at the far too young age of twenty. His name was Aaron. He was the youngest son of a friend whom I love like a brother, and whose family I have a great affinity for; I feel as if they are family. In their younger lives his children referred to me as "Uncle," and I return that bond toward them.

My friend is Dave and his three lovely children are, in order of birth, Bryan, Aaron and Audrey. The family lives in another city, several hours away, so I have never been a day-to-day constant in the lives of the children or their parents. In fact, most of the three decades I have known Dave he and I have not lived in the same city, but, that does not dilute his importance to me, and I hope, vise versa. I visited enough to be able to say I, to at least some extent, have watched these kids grow-up; I watched two loving parents do the best they could, and I think a pretty damn good job, rearing their children, even after they ended their marriage and went their separate ways.

The last few years I have not been as big a part of their lives, nor they mine; yet, my affinity for all of them holds strong; my affection for Dave is and always will be. The moments I have had with each individual member of the family have become a part of my story on this earth; moments I cherish. I could recount countless of these moments with all of them, and many, many with the three kids.

When Aaron was a baby, about four months old, I was visiting during his first Christmas and was in the living room alone with him and I finally picked the little guy up for the first time. He furrowed his eyebrows for a moment, then smiled, giggled and kicked his legs. I was in. Not but a few moments later, his mother took the photo you see here. Often when I have driven over to visit, Dave has been at work when I arrived and Aaron would be there. We would hang out a little. Nothing amazing, no deep conversations about life's journey or such. Sometimes it was just him telling me things about his football life, he was an accomplished football player, and I would, being "sports-challenged" only understand some of what he told me. Often it would be, I'm hungry. You Hungry? Let's go get something to eat. It was just stuff. Just hanging with an interesting kid.

I always thought, from the time this kid was very young, that he had a great gift for reading people. It seemed to me he had a natural insight into others. And he had good instincts about things. One time when I visited, I agreed to drive him somewhere (I don't remember where or why), we had listened to some music of mine and he said, "You should be promoting yourself on-line." I think he was about thirteen at the time, maybe younger.

He was a great kid. There was an amazingly remarkable man standing in the horizon, waiting for Aaron to step into him. A man even so much more remarkable than the remarkable young man he already was.

Let light and love bathe his spirit and the hearts of all those who say goodbye to his earthly presence.



Sat, Oct 19, 2013

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ON THIS DATE IN 2003.....:
On a Personal Note icon
Craft Notes icon

Ten years ago I had a, (I hate to use this term but it's the most accurate one to use), paradigm shift in my life. It happened the morning after an evening's drive home from the Festival Playhouse at Wright State University. I had seen TV and stage actor Malcolm Gets in a small musical performance at the WSU theatre, that performance which he did to finish off his musical theatre residency stay on campus. It was the night before I made what I described shortly afterward as "the decision that ought to be a foolish one, but isn't."

Without regurgitating the entire thing, there are some passages from an essay I posted at my website proper a few weeks after the paradigm-shift event. They have to do with the CAC (Creative Arts Center) on campus and the evening of the Malcolm Gets performance. In those days I had some occasions to be required to be in the CAC, but I avoided it as often as I could. As I wrote ten years ago:

And so we come to the Creative Arts Center, mentioned at the beginning of this essay. That building vexes me. I've always managed to avoid entering it except when absolutely necessary, but occasionally I must. Whenever I do, I feel it. There's a feeling that taunts me whenever I am inside that building. It is this knowledge that I should be intimately familiar with the building; it is that most people in that building, especially the actors and acting instructors should know my face and my talent. But, I don't have that familiarity and no one in that building knows me or my abilities from Adam

Then, I had the occasion to meet Mr. Gets, with whom I had a brief conversation written of in both the essay and in an early posting of this very blog. During the course of that short meeting he let me know that it was more than fine for me to attend the send-off performance; it was a goodbye to the acting majors but it wasn't just for them. And as I waited in line for the theatre doors to open, on Saturday evening, Oct 18, 2003, I had a transcendental, if painful, experience. As I wrote in the Oct 18, 2003 entry:

Standing alone in line, waiting for the doors of the theater to open for Malcolm's performance, was a painful experience for me. I stood there surrounded by all those young ones: actors, singers, dancers. I stood in the midst of that jubilant energy that I once was a thread of fabric within. Suddenly the point seemed to be a spear, jutted, thrust into my gut -- once, almost everyone who knew me had expected I would become an actor, probably a successful one. At nineteen, I had thought that this energy, which was almost foreign to me as I stood in that line, was to be the mainstay of my everyday. And that building -- the Creative Arts Center -- where I stood in that line, it had taunted me and challenged me every time I walked within its walls:

Why am I not haunted by your presence? Why is the trace memory of your talent not germane to the legacy of my brick and mortar? Why do the young people here not know your face and your ability? Why does your name mean nothing to my faculty and staff?

Why are you orphaned from the craft?

Once again, it whispered these quiet harassments to me as I stood with those young theater people. At some point, the spearhead stabbing into me started to slowly and sadistically twist itself. Just shortly before the doors opened, I almost walked off, went home, I was in such quiet, solitary agony. All I could think as I stood there and looked at all that youthful talent was, I am not part of your element, and I am sad because of it. But, I didn't bolt.

The essay, which is posted in a slightly revised version as a Personal Essay at the site: "The Knowing In Me: the artist becomes himself," and the blog accounts of the show both describe my further uncomfortable look in the mirror that evening, what someone later told me, and I think with pinpoint accuracy, was a moment of divine dissatisfaction. The drive home was no better. The essay says:

But on the way home, I was depressed. I happened to have the tape of Sgt. Pepper's Lonely Hearts Club Band in the car. I cranked it and belted my vocals along with all the songs. This was one of the records that taught me how to sing, so it was a rescue maneuver to sing along as I drove. And I had a restless night. I knew I had to do something. The next day I decided -- as if this will be a surprise -- that I must act again. Really act, you know, where it may become an income, perhaps a primary income.

MOVIE PRODUCTION STUFF ICON
My plan at the time was much different that what has developed. I wanted to be auteur of a short movie that starred me. I wanted to use that as a sizzler to get me noticed. That was the naïve plan. I was not interested in stage acting except as little more than to scrape the rust off. My interest in The Guild was simply because it was a small, intimate thrust stage where I could keep the performance toned down much closer to camera acting.

'The Cripple of Inishmaan' Virtual Tour
On Monday, January 19, 2004 I walked into the Dayton Theatre Guild to audition for the role of Dr. McSherry in Martin McDonaugh's The Cripple of Inishmaan. My goals were pretty lofty. As I wrote a few days back on facebook, " my ideas and ideals about where I would be today were different than what is today. I was sure I'd be a sought-after character actor in Hollywood by now, working often in major supporting roles in big feature films, with the occasional lead in a smaller, indy film here and there. I was drenched in practical realism and humility, you see...." Still, as lofty as my goals were back then, I had no expectations I would be cast in Cripple. I was prepared to audition for a few plays, maybe quit a few, before I was cast. That I was cast, and as the more interesting, more challenging, and bigger role of Johnnypat, came as a total surprise to me.

So here it is, ten years later. I am not a sought-after character actor in Hollywood, working often in major supporting roles in big feature films, with the occasional lead in a smaller, indy film. That goal has categorically not been met. I have not produced -- to completion at least a movie of thirty-minutes or longer, featuring my own acting, or otherwise. I don't have any actors' union card and I cannot properly label myself a wholly professional actor nor director.

Yet, as a friend commented on my recent facebook post about this anniversary, " A man's reach should exceed his grasp."

PROFESSIONAL GIG ICON
And I certainly can call myself semi-professional; I can even rightfully say that I am a professional actor, despite that it's not my main income and despite that not all my acting is professional. But I have now been under contract with The Human Race Theatre Company three times. I am now associated with Actors Equity Association (the union for professional American stage actors) by virtue of being in the Equity Membership Candidate (EMC) Program. I have done pro gigs for industrial movies and have appeared in TV commercials. I regularly work as a paid actor for the University of Dayton School of Law. I have done other paid stage work. So far, the crowning professional achievement, in many ways, anyhow, was working for two days on the set of George Clooney's The Ides of March; granted I was not an actor on that set, but rather a stand in (translation: "fleshy set piece"), but I was a paid participant in the production of a big-time feature film. Since I was part of the process of setting up shots, I was on Mr. Clooney's radar. Though if we met today and he did happen to recognize me, I'd wager he'd have a difficult time remembering from where. I was also in a supporting role in a very fine independent short that has garnered quite a few festival awards, that being Beth Mchelenny's Still Me.

FOR THE LOVE OF THE CRAFT ICON
Beyond the professional work, I have had some good, some great, roles in non-professional theatre, starting with Johnnypat in The Cripple of Inishmaan at The Guild. Another really satisfying role was Clov in Samuel Beckett's Endgame at Springfield StageWorks, my next significant role (Oct 2005). Teach in David Mamet's American Buffalo, again at StageWorks, was another role I loved and feel very good about my work. Recently my work as Carl in Opus, at The Guild, pleased me. I also was quite happy with my Darrell in Carl William's A Woman on the Cusp, which was an entry in the 2011 FutureFest new play festival. What I personally feel is my best work so far, at least the one about which I feel the most accomplishment was Ray in David Harrower's Blackbird, also at The Guild, which I am sorry was only seen by about one-hundred people. There are other roles, of course, but these are the ones that top my list. Though these and the ones I have not mentioned, including some gratis film work (such as the just-complete Greg Nichols' film, Medicine), has not been professional work -- pro work, of course, being my ultimate goal -- it still has all been done for the love of the craft and it all certainly has helped me grow as an actor, and that last point works toward my professional aspirations. I've gotten the occasional critical acclaim, which is worth whatever that's worth (honestly, I'm not sure it is worth a whole lot), and I have had the far more important kudos from my peers, whose opinions carry far more weight with me than the "critics."

SOUND DESIGNING ICON
DTG Producer icon
I've designed sound for something like a dozen theatre productions now, too (none professionally), mostly at The Guild, but a few FutureFest shows. And I have become a regular producer at The Guild, most seasons producing two shows.

Dayton Theatre Guild
Speaking (writing) of The Guild. I am now in my tenth season as a member of the Board of Directors at The Guild, (with far TOO MANY of them, now, being responsible for house management!!!). It is a great honor to be closely connected to such a great organization and one of the best theatres (professional or non-professional) in the region. Regardless of its non-professional standing, the level of commitment is professional, that I can assure you.

'THE CHORUS FOR CANDICE' a film by K.L.Storer, featuring Kimverly J. Reiter with Charity Farrell and Benjamin T. Sadai
'VIGNETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him. 'BE OR NOT' icon
As a "film maker," "auteur," "movie maker," whatever the appropriate term is, I've made some strides, too, if haltingly. I wrote and directed the short The Chorus for Candice in 2006, with one featured player being my current castmate, Charity Farrell (our current production, Fiddler, in fact, is our fourth project together). Between November 2008 and June 2009 I shot principal photography for a full-length feature improv movie that eventually has been titled Vignettes In Bellcreek. There is NOT a final cut. There's hardly been any post production. I did pull out one vignette as a self-contained short; that being Be Or Not, which stars Natasha Randall and Craig Roberts.

DTG Podcast Production logo
It's been the DTG promotional podcasts where I have done the most work as a "movie maker." Due to producing six to nine of these every season since the starts of the 2010/11 season, there has been some progress on my learning curve, especially in terms of the technicals of editing. However, the compressed time period to shoot and then edit these to final cut has often left me frustrated because I have not had time to polish the way I could, the way I probably should. The other element that is rather ironic is that the podcasts are far more into the realm of mini-documentaries, so I am getting far more woodshedding as a documentary director than as a narrative movie director, the latter being what I am far more interested in doing. Still good practice though. I'm not sure the podcasts make a big impact on ticket sales, but I'm getting a personal benefit. Perhaps at some point they will be more focal. I must admit, I am starting to burn out on the concept of putting time aside so often to produce them.

POST-SCRIPT
I certainly am no big shot, locally or otherwise -- "otherwise" I am no shot, whatsoever. I also fall very short of the level of excellence I would choose to be at. Anyone who has spent any time reading this blog may be aware that I do not believe I move well on stage. It may, perhaps, possibly, could be getting better, but I don't think it's become immensely improved. That is by far my biggest complaint about myself. Of course, I always would like all my skill sets to be better. I would love to actually be a decent dancer. I am only passable, and only with very easy, simple choreography. I like my singing voice, but it could be much stronger and certainly could be more disciplined -- I would love to have far more finesse in my control of my vocals. And, Man! is there a lot for me to learn as a film maker: A lot!

Well, ya know, I may be much less than the accomplished performer and movie maker that I would prefer to be, but the journey this last decade has been a blast, so far, regardless. So there ya go!


THE FIDDLER KEEPS FIDDLIN':
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Rehearsals are going well. I am still being impressed daily by my castmates. Thursday night we did our wandelprobe with the whole cast present for the evening. It was the first time we all saw the choreography for segments we are not a part of. I am more excited about the show, now.

The Chava Sequence, for instance, is already beautifully executed ballet and it's still in its rough form. Once they have fully realized the choreography.....

The Russians' dance at the end of "To Life" is so much fun to watch, too. And that damned vocal by Adam Brown -- ya know?: the one I thought I got to sing? By all rights I should be bitterly jealous, but I gotta tell ya, as a singer and a performer, I simply am required by The Goddess to appreciate such a strong vocal performance. As I wrote before, I could have sang the part, but I would never have given it the justice Adam does.

Tevye's daughters during "Matchmaker" are fun to watch, too. Though I'm in the Wedding Scenes, thus have already seen The Bottle Dancers rip up the stage floor, I gotta mention them here.

Have I recently mentioned all the fine, fine singing going on?

By the way, the cast list is now officially posted at the HRTC website, so I know it's okay to give it to you here:

CHARACTER
           ACTOR
Tevye
           Drew Pulver
Golde
           Rachel Coloff
the rest in alphabetical order by actor's last name

The Fiddler
           George Abud
Fyedka
           Adam Brown
Nachum/Accordion/Guitar
           Jay Brunner
Vanya
           Eric Byrd
Chava/Fruma Sarah
           Ashley Campana
Lazar Wolf
           Saul Caplan
Shprintze
           Abby E. Cates
Seth/Clarinet
           Brent Eresman
Hodel
           Charity Farrell
Zev/Mandolin
           Joel Greenberg
Mordcha
           Ryan Heinrich
Motel
           Drew Helton
Yussel
           Joshua Silver Hughes
Perchik
           Josh Kenney
Yente/Grandma Tzeitel
           Caitlin Larsen
Sasha
           Adam Lendermon
Mendel
           Matty Rickard
Constable
           Jeff Sams
Bielke *doublecast
           Hannah Sayer
Shaindel
           Linda June Snyder
Rabbi
           K.L.Storer
Bielke *doublecast
           Jordan Vandersluis
Tzeitel
           Christine Zavakos
Production Team

Directed by Kevin Moore

Chris Crowthers (Choreographer), Jay Brunner (Instrumental Music Director), Janet Yates Vogt (Vocal Music Director), Kay Carver (Production Stage Manager) Dick Block (Scenic Designer), Tony Ray Hicks (Original Costume Designer), John Rensel (Lighting Designer), Nathan D. Dean (Sound Designer), Christie Peitzmeier (Costume Coordinator), Scott Kimmins (Technical Director), Heather Powell (Properties Master), Bethany Perhach (Assistant Stage Manager), Lexi Muller (Production Assistant), Andrew Ian Adams (Wardrobe), Patrick Allyn Hayes (Wardrobe)



Sun, Oct 20, 2013

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CLOSING TODAY
TIME STANDS STILL by Donald Margulies, at The Dayton Theatre Guild.

The Cast of Time Stands Still

CHARACTER
           ACTOR
Sarah Goodwin            Cassandra Engber

James Dodd            Alex Carmichal

Richard Ehrlich            David Hallowren

Mandy Bloom            Kelli Locker

Be Advised That This Play Contains
Adult Language And Themes

The Podcast for Time Stands Still


Mon, Oct 21, 2013

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THE FIDDLER AT THE RACE:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Yesterday we had the first run of the whole show without stops, *save for a couple major problem spots, and it went pretty damned well. It was also the run for the designers -- John Rensel (Lighting Designer), Nathan D. Dean (Sound Designer), Christie Peitzmeier (Costume Coordinator), and Heather Powell (Properties Master) -- and assorted others.

As one person connected to the theatre company remarked about yesterday's run: "Many moving moments are already in place." I think I might be a part of one of those -- maybe. I will again rave about the cast as a whole and that plethora of fone voices and dance moves.

For myself, there's been some passable improvement on a few things. My, ah-hem, "dancing" during "To Life," while not flawless, was much, much better: not really awkward and I made only one choreographic mistake, at least that I'm aware of. I have a couple comedic moments that seem to be improving to the point of perhaps being funny; and as I have practically no comedic sense or timing, this is something to celebrate. I was going through some weird phase this weekend where the notes I sang during the Rabbi's "Mazel tov, mazel tov"s during "The Dream" were off -- not our of key, but incorrect. What I was doing was flipping the phrase intervals a bit. Yesterday I was back on track. I also, for some odd reason keep replacing a word with a synonym in a scene. And it's an important word to get right because another character has a response that repeats the word. The Rabbi is supposed to say "forbidden"; I keep saying "prohibited."

Well, night off tonight from rehearsal. Though I have Guild business to deal with for some of the evening, I do have time to work on my current inequities with song, dance and lines.

Meanwhile, here's some press: "Human Race Theatre Company's FIDDLER ON THE ROOF to Begin 10/31."


THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.

DTG Podcast Production logo
Tonight will be the first shoot for the podcast. Fitting this in during the Fiddler rehearsal and performance period proves a challenge.

By necessity, this may be a very simple production. Monday nights will be the only times I can get in to shoot any footage of rehearsals. The plan will be a for a group interview on a Saturday in early November, which is, of course, after Fiddler has opened and I have most my Saturdays open.

The underscore music for this podcast will be interesting. I have no clearance to use any music from the show, and I am not sure that I will get such. I did get clearance for the The Story of My Life podcast, and then, to jump the recording copyright hurdle, I used versions of the music we had recorded ourselves. Were I to get clearance this time, I'd want to do the same thing; then the question becomes: when? The likelihood, however, is that I have generic, royalty-free Christmas music of comparable style as the underscore.



Sat, Oct 26, 2013

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FIDDLER IN THE LOFT:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Neko Case ICON
First of all, Tuesday night was the night I was to see Neko Case in concert at Taft Theatre in Cincinnati. I had bought the tickets before I had any inkling I was even under any sort of consideration for Fiddler. I then listed it as my only "potential" conflict but let it be known that I was not expecting to be excused from rehearsal for it. I then later decided that Oct 22 was just too close to opening, that I should really not be missing rehearsal save for some real emergency. So, I gave my tickets away. After that, I saw on the schedule that I was indeed excused for the evening. Well, I wasn't going to ask for the tickets back. Plus, still, Oct 22 is the week before opening, and I still was hesitant about missing rehearsal so close to the start of tech work. So, Neko had to manage without me.

Wednesday we migrated rehearsal out of the studio space onto The Loft mainstage and our very cool set. We started a run of the show with stops to fix placement and timing now that we are in the real space. That spanned two nights. Last night we added the mic packs. Today is the Ten Out of Twelve tech rehearsal. In the words of our staga manager, Kay Carver: "Bring snacks, it will be a long day!"

We really only have two more rehearsals without audience. We are dark Monday; Tuesday there will be invited guests for the rehearsal and Wednesday is "Can Night."


THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

As we know, the plan is to shoot podcast at every Monday night rehearsal of Magi, since that is my window, with Monday being the dark night for Fiddler both this coming rehearsal week on into the run. I also am trying to set the shoot for a group interview on Saturday Nov 9. It turns out there is a rehearsal planned for that day so it's more plausible since cast won't have to make a special trip in. I want that day because I have Monday, Nov 11 off from the rent-payer for Veterans Day, and I'll be able to edit the interview segment, which is a big chunk of the podcast DV movie.

I later have a vacation day scheduled for Nov 19 and with Nov 11 under my editor's belt, I have a good chance of getting to final cut on Tuesday -- after having done my final shoot during the Monday, Nov 18 tech/dress.

Some really good news is there seems a pretty good chance -- much better than I'd anticipated -- that we will get clearance to use material from the show, both dialogue and music, in the podcast. Playwright Mark St. Germain has given his permission and is checking with his partner, Composer Randy Courts. I hope that pans out, because the DV movie podcast to promote a musical is so much better if its musical elements can be incorporated.



Tue, Oct 29, 2013

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A FIDDLIN' COUNTDOWN:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Officially, the show opens this Friday; of course, Thursday is "Preview Night," which one may argue is the actual opening. Technically, however, we start playing in front of audiences tonight. There are guests tonight; I believe it is Muse Machine students, parents and staff, along with some HRTC benefactors; I may be wrong, but I am pretty sure that is tonight's audience. Tomorrow night is, of course, "Can Night," (The price of admission is a few cans of non-perishable food items or a cash donation. The canned food goes to The Food Bank and the cash goes to the AIDS Resource Center of Ohio), though that being the Final Dress*.

Are we ready? you ask. "We," in the big-picture, comprehensive, cohesive sense of the word, are ready. In terms of individually, I can say that I would like to be a little more accomplished on a couple dance moves -- but, that is hardly surprising. What's surprising is that there aren't more dance moves I need to shore up.

Ready or not, here THEY come. Hey, it's still rehearsal, so if we stop to fix a train wreck, they'll have to accept it, tonight and tomorrow night.

*) FINAL DRESS REHEARSAL AKA "Final Dress": The last full rehearsal, which includes all the technical aspects of lights, sound, special effects and all set changes and costume changes are done, I.E.: the show is run as if it was a performance in front of an audience; there will be no stops unless something goes amiss. Sometimes referred to as a Tech/Dress since the costuming is involved along with all tech.



© CLEARANCE:
THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

I am very pleased to report that Playwright and Lyricist Mark St. Germain and Composer Randy Courts have both given us clearance to use music and dialogue in the podcast.

I shot some more footage last night -- shoot day 2. Now the cast is warned that I may use audio, even from what is essentially B-roll. I assured them that I won't use any moments where a pitch is not well-found, etc. The goal is to sell the show not embarrass anyone.

There is, in fact, a musical moment from last night that I am contemplating using as a brief sneak-peek segment.



Wed, Oct 30, 2013

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THE FIDDLER AND THE CAN NIGHT:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

So, I was mostly wrong about the "audience" last night. I don't believe the members were connected with Muse Machine, at least not as a group, though perhaps there were individuals there who are connected. There were maybe a dozen folk, perhaps a little more. Based on a couple people I recognized, both whom I know are big patrons of the arts, I'd say I was correct about HRTC benefactors. One of them, I know for a fact, has contributed with great generosity to both The Race and my home theatre, The Dayton Theatre Guild.

In terms of my, ah-hem, "dance moves," there was only one flub, and not a horrible one, so that's good. The rehearsal was pretty damned good. I think the substantial fly in the ointment, since there was an audience, was the malfunction of lead actor Drew Pulver's body mic and the need to stop and change out the pack; that wasn't really all that substantial of a fly in the ointment, either. I know the production team felt it was a good run last night, even if there were notes for us and things that we will work tonight before the Can Night/Final Dress.

Yep, tonight is that audience, the Pay What You Can audience. As Director Kevin Moore told the out-of-towners last night, the Can Night audience is a different one than perhaps they've encountered before. Usually boisterous and highly enthusiastic, the Can Night audience tends to react in a bigger manner to everything than other audiences will. I told a few last night, in a separate conversation that the audience will have a heavy percentage of local actors (both theatre majors and otherwise) as well as being then filled out with great theatre lovers, many who will come back later to see the show at full price. I, by the way, am clearly in the first group, and always want to be in the second (as in returning for another performance), though that hasn't happened yet.

Back to Kevin: one of his points was to warn the cast to nit feel a downer if successive audiences don't give off a response to performance as energized as what we will likely get tonight. The Can Night audience is almost always an anomaly.

But I do think we are going to get some great responses during our run. This is a good production.

Meanwhile, back at the ranch, here's some promotional stuff, from Shaunn Baker. Pay no attention to the fella with three left feet in the back row of some of the dance work:



Thu, Oct 31, 2013

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I THINK WE GOT OURSELVES A SHOW!:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Can Night -- The only way to say this is that last night's Can Night kicked ass! The cast had its act together and the audience responded quite well, as we have established a Can Night audience will; but this particular Can Night audience was exceptionally responsive and appreciative. The energy just simply fueled our mojo. It was a great Can Night audience that made Final Dress really juice us for the run!

My "dancing" you ask?: passable.

Tonight: Preview Night! -- Tonight is the first full-price ticket audience, though the "Preview" ticket is a little discounted, maybe about 20%. Many consider this to be the actual Opening Night. I usually see it that way. To be honest, however, the full house, the highly-energized full house we had last night made me see that as Opening Night for this show. One of my castmates always considers Can Night as Opening Night, despite that's it's still a rehearsal where we could stop to fix something.

Tonight, though, is going to be at least a $75 night for a couple, if you don't count dinner in a nice bistro or parking. And no re-do's. It's a live performance where we don't break the fourth wall, we don't disturb the universe to make adjustments or otherwise fix anything. Although, we do have notes slated for after the show -- the last notes save for any possible one-on-ones with Production Stage Manager Kay Carver with whichever of us there may be occasions during the run.

Opening Night -- tomorrow is the official opening, with the Opening Night reception after the show. So, I will do my traditional "OPENING TODAY" post, tomorrow.




Fri, Nov 1, 2013

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OFFICIAL OPENING TODAY
FIDDLER ON THE ROOF at The Human Race Thatre Company.


Sat, Nov 2, 2013

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PREVIEW & OPENING:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

KL fb post -- "So, the official opening of FIDDLER ON THE ROOF at The Human Race Theatre Company is under our belts (or prayer shawls). And the ride has really begun. Tonight was a very good opening! Kudos to my cast mates and the band and the crew!"

Yes indeed, the show's official opening was a damn good one! Mind you, I can list a few flubs of my own, but they were minor. My hands turned the wrong way during one portion of the "Tradition" dance, as an example. Still, it was a good show for us all.

The Thursday preview, however, was Blunder Central for me. I had several silly missteps during "Tradition," I came on stage without the Rabbi's spectacles during "Sabbath Prayer," and I was not on top of my timing in a few other spots. Though again, overall, it was another good show and the audience did like it quite a bit.

Tonight, the show goes on. Tomorrow, it goes on twice. Meanwhile, here's more promotional footage:




TODAY, BEFORE THE RABBI, IT'S THE "AUTUER":
THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

Today, before I head to The Race for Fiddler call, I drop by The Guild for another shoot for the Magi podcast. Plus, since we have permission to use music, I will audio record our musical director, Luke Williams, playing some of the music to use as underscoring for the DV movie.


RÉSUMÉ REVISED?:
THE BUSINESS OF ACTING ICON

The other day, when I began to update the various versions of my actor's résumé to add Fiddler, I came to the conclusion I need to revise the face and format some. I think the way I have it set up right now I have less room for credits that I could have. I need to revise in a manner that allows one page to cover more of my work, without making the page too crowded or busy. I believe I will start researching examples of other styles than what I have, so I have some ideas for an attractive and highly functional new look.

You may have noted I referred to "versions" I have four: professional theatre, non-professional theatre, professional movie (or screen) and non-professional movie. A slightly altered version of the professional movie résumé acts as that for the talent agency I am associated with, when I am associated with one. The change is in the contact information, where the agency would be primary.

The on-line version that is found here has all my credits, which makes it longer than one, 8.5 x 11 printed copy. But the one that gets handed to producers and other auditors need to be only one page -- that means credits must be triaged; I'd like to have a bit more on that one page than there is room for right now.



Sun, Nov 3, 2013

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A SERIES OF TWO'S:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Last night was the second show of the official run. Some cast reported it to be the proverbial sophomore run for them, the low energy, low enthusiasm show of missed marks and small errors. Save for two problems, mine was not that show. My sophomore show was the Thursday preview, as I wrote yesterday.

Last night I began to sing a wrong line during a section of "Tradition," but made a quick correction. It also appears that at some point in Act I my mic pack got turned off. I don't think it was before the act started, because I am pretty sure my mic was live when I did the Rabbi vignette in "Tradition." But between then and my next appearance in "The Dream," it was shut off. It must have somehow been shut off while I was doing a costume change.

Today is one of two days we do a matinee and an evening show, the other being the closing day, on Saturday, Nov 30. Of course, I have much more limited experience at days like this than many of the cast members who act full time; some do tours with two shows every Saturday and Sunday of the run. I have done only a few of these days, with most of them being Sundays at The Guild where we added an evening outreach performance for one organization or another.

By the way, as for today, if one of you five read this in time, you could see the show tonight for ten bucks:

fb FIDDLER post -- "Tonight at 7:00 pm - See FIDDLER ON THE ROOF for just $10!!!! Hopefully, you remembered to turn your clocks back an hour this morning. And speaking of important reminders...Tonight's evening show is our 'Sawbuck Sunday' performance where all available seats are just $10. That's right, you can buy a $41 seat for $10. (Makes me dizzy just typing it.) Tickets are available at The Loft Box Office starting at 5:00 pm. It's one ticket per person, but we've got several seats available, so make plans to be at FIDDLER tonight. It's the best arts bargain in town!"


A SERIES OF GIFTS:
THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

To start this story, O. Henry's work is in public domain, meaning that no one owns copyrights for the work, thus no permission or clearance is needed to adapt any of the work in any form. This is an important fact for this entry.

Now, before I had any notion I would be cast in Fiddler, I was very much interested in being Soapy in our Magi production. Months back I bought the digital album O. Henry's the Gift of the Magi from iTunes. Before I was able to really start delving into the music to get to know the show, actually just about the time I would have, I was offered The Rabbi in Fiddler, so Soapy was, for now anyway, out of the picture. A key point here is that I did not open the libretto to start reading, else the end bit of this story would not have happened.

Of course, we know I still have the involvement with the show of producing and directing the podcast. We also know that both Playwright Mark St. Germain and Composer Randy Courts have granted clearance to use portions of the book and the music in the podcast. To that end, I arranged with Musical Director Luke Williams to record some keyboard work of some of the music to use as underscore for the podcast. I told him I would listen to the CD I burned from my iTunes download to pick some musical movements that work well for that purpose. We had arranged to record the keyboard work yesterday. We did; but we recorded nothing I had picked from the album I had.

At the start of the session, as I started telling Luke what music I thought would work, he looked a bit puzzled and said he wasn't sure which songs I was referring to. I opened up iTunes to the song list for the album. "Yeah," he said, "that's a completely different song list. None of those songs are in the show."

I had bought O. Henry's the Gift of the Magi: lyrics and music composed by Peter Ekstrom rather than The Gifts of the Magi -- Cast Recording featuring the music and lyrics of Courts and St. Germain from the production we are doing. Remember, O. Henry's works are in public domain, so as long as each adaption is unique, outside of the contraints of the source material, they are all legal and permissible with no clearance needed. So, Mr. Ekstrom had the same idea that Mr. St. Germain and Mr. Courts had and two completely different musicals were created from the same story (actually, St. Germain/Courts has melded two O. Henry's together).

Regardless, we were able to pick some nice musical moments from the show we are doing to underscore the podcast, so it all worked out.

I also later shot a little bit more of some musical rehearsal and some choreography work. I am back Monday evening to shoot a little more. Next Saturday, we shoot the group interview.



Tue, Nov 5, 2013

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I VOTED TODAY!





INTO THE SOPHOMORE WEEK:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

First of all, we had a good opening weekend. There were, of course, those "Live Theatre Moments," the little kinks in one actor's or another's performance; there is some chance that at one point or another I may have just possibly been one of those such actors -- some chance. But, by gosh I was not alone.

We move into the second week tonight after our day off. By the way, there were $25 seats available for tonight's show, as of yesterday. Some may still be available. Call the box office at 937-228-3630.


AS PER ONE OF THEM OTHER HATS:
THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

Shot a little more footage last night at rehearsal. Did a two-camera shoot with one always focused on the show's amazing musical director, Luke Williams. Got some good footage of some actors who I had less such of them singing. My source footage is thus becoming better balanced.

A couple things -- 1) the show is sounding very good. 2) I may not have mentioned this before, but I went to middle school and high school with Luke's mother; in those days she was dating one of my best friends from my youth. As I told her about her son, in a fb message about a week ago:

Okay. A few things about Luke; none that will be news to you. A) He's a really nice young man; B) he's terribly talented; C) he is an exceptionally good musical director. I know you are quite proud of him and that is most understandable.

MOVIE PRODUCTION STUFF ICON
My Canon Vixia HF R40 HD Camcorder icon
Before the podcast shoot yesterday I picked up a third Canon Vixia HF R40 HD Camcorder. I now have three HD DV movie cameras. Of course, they are a consumer level product model, but still, 1080p. I'm a long road away from a RED or such, but, forward is forward. Now, if I can grow a "bit" as a movie maker -- he said, optimistically, as if "a bit" is enough growth to make it to even the level of "good."

My plan has been to make the third camera a Blackmagic Cinema Camera, and that is still on the shopping list since I can pick one up for two grand. However, I need a third camera quick for the Magi group interview this coming Saturday and, though the Blackmagic price is a valuable deal, I don't have access to $2000 right now. So I got the third HF R40.

Still, I can now successfully do three camera multi-cam shoots at a whim, as I need to do Saturday. Additionally, we know from Time Stands Still that the 1080p footage from this consumer cam looks damned good!



Fri, Nov 8, 2013

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STRETCH TWO & THE FIDDLER IS STILL KICKIN' IT:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

The first half of our second week has gone great. Good performances all around and the audiences have been responsive. Good vibes to and fro.

Under The Weather Today I am off sick from the rent-payer for the second Friday in a row. Last week it was a little bit of a sore throat but more some lower back pain. It was a day spent mostly in bed and I was alright for the show that evening. Today it's much more of a sore throat and some rawness in my nasal cavity which feels like a sinus infection. So, today has been about a few more hours in bed, no use of my voice, salt water and lemon juice gargles, congestion meds, cough drops, throat-coat tea, and hot (temperature) and hot (spicy) foods. I've been up for a few hours employing these remedies and I feel much better.

Here's more promotion:




PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS

As always, I will warn that there may be a whole lot of giggin' by my friends and colleagues that I have missed or am completely ignorant about. If one or more of these many talented people has a forthcoming or current gig that has not been mentioned here, it is not because I am slighting them, I promise you -- rather, it's because I am ignorant.

However, I do know that Ashanti J'Aria opened as swing on Nov 4 in Disaster! A 1970's Disaster Movie...Musical at St. Luke's Theatre in New York. As well, Bruce Sabath opens in Show Boat at the Asolo Repertory Theatre (Sarasota, Florida) on November 12.

Break legs, Ashanti and Bruce!



Mon, Nov 11, 2013

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xxxx




WEEK TWO DOWN:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

The second half of Week 2 went as well as the first part. I am still battling with that sore throat, and my vocals were pretty weak all weekend. There are a couple places where I usually belt it out -- or, whatever my equivalent of "belting it out" is -- in which I had to take it pretty easy. Fortunately I am in ensemble in all those situations so I didn't compromise the musical moments.

The audiences are consistently responding to the show, and this great cast, with praise and congratulations. There seems to be a good buzz swarming around town. So, if you're close by: humanracetheatre.org/singletix.php.


THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

Shot the group interview Saturday afternoon as well as a bit of rehearsal footage. In just a few minutes I will start editing the interview portion of the DV movie -- which is the bulk of the podcast. I hope to at least get that out of the way today.

I had plans to shoot rehearsal footage tonight, but I have elected to stay home and take it easy in light of still being under the weather. It will not be a bad idea if I don't use my voice at all nor don't go out into the weather. Granted at the moment it's 46° outside my home, which isn't sub-zero by any means. It ain't 70°, either. I am staying in.



Tue, Nov 12, 2013

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"BARUCH ATAH ADONAI HA MY THROAT!":
FIDDLER ON THE ROOF  at The Human Race Theatre Company

The Hebrew above is incorrect, I am sure. It's a play on a blessing Rabbi gives in the show. It addresses this @#$%&!! cold I am battling. My voice is in better shape than it has been, but only minimally so. Had I not had a new employee for whom to oversee the start of training I would have not come to work again today. I would have taken drowse-inducing cold medicine and stayed in bed most of the day, and not used my voice until I arrived for my call for the show tonight. Alas, that was not to be.

Well, ready or not, Week 3 starts tonight!

A blessing on my throat
Mazel tov, mazel tov
To not sound like a goat
Mazel tov, mazel tov!

A little birdy tells me there are still $25 seats left for tonight's performance!: humanracetheatre.org/singletix.php.


THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

As planned, while I stayed in and did not use my voice, yesterday, I did begin to edit together the podcast HDDV movie. Right now all that is there is the intro splash and the foundation, I.E.: the group interview. There are only a couple cutaways, which are different angles (cameras) of the moments in the interview. There will be more of those added in, as well as inserts of principal performances -- not shot yet -- and the overlay of B-Roll from early rehearsals. Though I may get to some of that editing beforehand, the bulk of the rest of edit, to final cut, will happen a week from today, on a scheduled day off from the rent-payer. That after the Monday evening Tech/Dress rehearsal where I will shoot the principal performance footage.


GENERAL TECHIE STUFF ICON
NOPE OSX MAVERICKS

Last week I downloaded and installed the latest operating system from Apple, OSX Mavericks, but I had to revert back to Lion because my Corel Painter 12 is not compatible with the new OS and I need graphics editing capabilities. I note there is a new version of Painter, Corel Painter X3, but looking at the site I cannot readily discern if it is compatible with Mavericks. I will upgrade back to Mavericks when Corel has a version of Painter that works there, and I can afford the software upgrade. The Painter X3 upgrade will cost me $179, and ordinarily I would get that as soon as my wallet allows. But I will wait until I can upgrade both OSX Mavericks and a version of Corel that works on that platform.



Fri, Nov 15, 2013

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"THAT SHOW":
FIDDLER ON THE ROOF  at The Human Race Theatre Company

We're halfway through week 3 and it's been good. However, last night was that show; the theatre people reading this will know what I mean. Back in 2007, Allison Janney guest starred in an episode of Studio 60 on the Sunset Strip, called "The Disaster Show." It's about a particular episode of the fictional sketch comedy show where things go wrong from the git-go: the prop union walks out on strike a few hours before the show goes up (and the cue card techs are part of that union); there are a throng of technical mishaps and miscues.

Now, our show last night was not anywhere close to that level, but from our own git-go we had our own mishaps, and the hits just kept on comin'. Instrument pick-up and mic pack outages peppered the night; line and lyric flubs sprinkled themselves around, missed music cues popped up here and there; a dancer had a shoe sole start coming off in the midst of a pretty intense and intricate dance routine.

The audience didn't seemed to notice much of this, or perhaps didn't mind, because the response was still positive. So, there ya go!

Here's more promotion:



Tue, Nov 19, 2013

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FIDDLIN' ON:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

First of all on the agenda, my voice is not back to 100%, but it is doing better than it was. Sunday I was able to sing full-out rather than fall back onto using falsetto, especially in one place where that has been necessary for over a week. So that's good. I still have a supply of Throat Coat tea that will continue to utilize, just to be safe, and I still dropped a dosage of daytime cold medicine this morning. And I gave some lemon juice and salt on hand, just in case.

Meanwhile the shows have consistently gone well and the audiences are still responding positively. There, of course, have been more of those "Live Theatre Moments." For me the worst one was on Friday evening: I jumped a cue walked out on stage early. It would have not been so bad had I not immediately exited to re-enter on my correct cue. It was the wedding scene where the Rabbi was entering to officiate the ceremony. I am suppose to enter on a certain change on the music, and I entered a few measures early.

Hindsight is 20-20: I, and Matty Rickard (Mendel, the Rabbi's son), have to hold back a few moments before we step up to the bride and groom, any way. We hold back to allow Golde to walk the bride, Tzeitel, around her groom, Motel, three times -- (Rachel Coloff, Christine Zavakos, and Drew Helton, respectively). Had I my wits about me, I would have just stood in place where I entered early, as it was just onto the stage and I had only a few measures to stand there, then moved down on my actual entrance cue. Nothing would have seemed amiss to the audience. My walking on then swiftly backing back off certainly looked like the miscue that it was.

So-oh-well!

Week 4 starts tonight.


THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.

SOUND DESIGNING ICON
Officially I am the "sound designer" for this production, though that does not mean a lot. I have created pre-show and intermission songs lists, consisting of Christmas music, intermission being wholly traditional Christmas songs, since the period of the show is more than a hundred years ago. I also have set up monitors on stage so the actors can better hear Luke William's piano when facing way from it at distances.

Between the DTG November board meeting in the morning and my evening call Fiddler, on Saturday, I added to, re-arranged, then loaded the Christmas music into Show Cue Systems on the pc in the tech booth. I also set the monitors and laid the sound cable, though the cable was only taped down on the playing space. Said playing space floor was not yet painted, yet but as that is a show-specific, (i.e.: temporary), paint job, I taped the sound cable down there with masking tape, so it would be pained over, thus pretty much inconspicuous. The cable that runs off the playing space is taped down with black duct tape, but that had to wait until the black floor on the parameters of the playing space was repainted -- and that we hope will last through the rest of the season; thus, when this show is wrapped, we don't want to pull up new paint that would be over the sound cord tape, on the black parameter.

DTG Podcast Production logo
Shot the principal performance footage last night. In a few minutes I will begin what I hope is the final stretch of editing the podcast DV movie to final cut. I am running on less sleep than I would like. I was up until almost 4:00 this morning, importing and transcoding the three-plus hours of principal performance footage from the dress rehearsal last night -- (the whole show from three different angles: down right POV, down left POV, and mobile POV that was mostly down center roving with occasional forays up the stage right or left of the thrust) -- and I actually went to bed while the footage from the third camera was still processing. So I climbed out of bed at 9:00 this morning, took at steaming hot, pulsating shower, down a serving of 5 Hour Energy, and made myself a mug of Coat Throat (preventive medicine for my much-improved by still not 100%-recovered voice). It's 9:45 as I write this particular sentence. I have until about 5:00 this evening to edit the podcast to final cut. It will be tight.

But here we go.....



Wed, Nov 20, 2013

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WHAT? YOU MEAN THERE'S CHOREOGRAPHY IN THIS SHOW?:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Last night, as you may know, opened the fourth week of the run, and it was by and large a good show. I had a couple blank-outs as per choreography, however, during the opening number, "Tradition." I simple forgot some movements. One of them I'm guessing was pretty obvious. The other may not have been because my blank was only a moment and I then executed the move. Another cast member reported similar problems.

The show was a corporate-sponsored performance where the corporation bought the house. Stage management warned us it could be an unpredictable night where we might have a full house or only a few dozen audience members; they might also be, um, less versed in theatre etiquette to the possible point of being down right rude. Apparently that has been the case in some past corporate-sponsored nights. It's nice to report that the house was probably about 75-85% full and the audience was both respectful and otherwise a good, responsive crowd.


YEP ICON; OR IS THAT NOPE ICON?:
THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo
K.L. fb post -- "Once again I see a deadline that is probably going to come and go and laugh at me as it makes its way to behind me."

When I wrote in yesterday's post, "I have until about 5:00 this evening to edit the podcast to final cut. It will be tight," was there much doubt to any of you five that the odds were in favor of not making final cut by 5:00 pm, yesterday? Because, surprise, surprise, final cut status has not been reached.

Today is Declared a NO TV ZONE
And so I will continue on that path tonight when I get home from Fiddler. Regardless of how tired I am when I get home from a show, I cannot get to sleep until after I have wound down a bit. Usually I watch some Netflix, Hulu, or a DVD. Not tonight. Probably not tomorrow night, either. You five may remember that since I moved to high def DV movies I have to edit onto a 4 gig external hard drive. Though it's not horribly bulky, it is not really what could be called "portable-friendly," so it's not as convenient to edit the podcast at work: i.e.: lunch time. I have brought the external hard drive along with me to places, especially The Guild, but taking and using it at work is not quite a practicable action.

And so no TV tonight nor likely tomorrow night. And yes, the TV was off last night after the show, too, as I did about ninety minutes of editing before bed.


FOR THE LOVE OF THE CRAFT ICON
THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.
AUDITION ICON

Though I am more-or-less still not connected for any professional screen work auditions, I am still in the audition game. Monday evening, the Fiddler dark night, I'll audition for the role of John Cleary in The Subject Was Roses, by Frank D. Gilroy at home base. Guess I ought to finish reading it this weekend, hey?



Fri, Nov 22, 2013

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FIDDLER ON THE ROOF  at The Human Race Theatre Company

Wednesday somewhere around the halfway mark of Act II a migraine began to come on. It wasn't too bad at that point and I made it to the end of the show without real discomfort. Then I went home and fixed my eyes on a computer screen for a while, but that's for the next section of today's entry.

The good news is both Wednesday and Thursday night I got the choreography as well as a man with three left feet can. Both nights were good shows all around in all aspects. I must say we've had many nights when the audience stands as the ensemble comes out for curtain call; so far this week it's been the case across the board.


OPENING TODAY

THE GIFT OF THE MAGI, Book by Mark St. Germain; Music by Randy Courts; Lyrics by Randy Courts & Mark St. Germain, at The Dayton Theatre Guild.

Based on the level of work I saw at the Monday dress, which was the last one I could see, I am sure the cast and crew are ready for tonight's opening. I wish them broken legs across the ensemble.

DTG Podcast Production logo
As for the final cut of the podcast, first of all, let me say how much migraine headaches suck! That one which came on Wednesday evening during Fiddler only enhanced to the point that it greatly cut down the editing time I gave to the DV movie when I got home that night. I worked maybe thirty minutes then had to go to bed and lie in the dark not looking at a computer screen. Then I missed Thursday at work. One might think it was a great opportunity to get many more hours into the editing; one would be wrong. I took one of the remaining prescription tylenols I have, from dental surgery earlier in the year, and slept until the afternoon. I did work on it for a few hours, but I took frequent breaks to get my eyes off the screen for a spell. Last might after my show I put about another hour in. There's a hosted cast party for Fiddler tonight, and I have a breakfast appointment tomorrow morning, so it may be late morning before I get back to editing. I very well may get to final cut at that point, but I'm seeing Sunday as the likely point that the DV movie makes it to the DTG youtube channel. The podcast will, then, of course, be embedded on this page.

Nov 27 addendum: Click here for the podcast.




Tue, Nov 26, 2013

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FIDDLER ON THE HOME STRETCH:
FIDDLER ON THE ROOF  at The Human Race Theatre Company

Item 1: the performances this past weekend were all of a fine quality. There were, of course, those inevitable live-theatre "oops!" moments, but they were but minor glitches. The cast and crew has a pretty tight consensus that the weekend was strong. A few, including myself, think we are hitting a better stride, now. The show is realizing its potential better than ever.

Item 2: tonight marks the start of the final week of the run. For the record, in my newby to pro stage work status, this is the longest run I have done of a show: 28 performances over a four and a half week span -- 30 performances if you count the Pay What You Can final dress and the second to last rehearsal, the night before, which was also for an audience, albeit a small one. And this does not include the December 1 "Fiddler Sing-Along," which is not the show in its entirety, but is indeed a performance.

At any rate, I am now feeling the small twinges of the beginning of my sadness about the end of the run. It's been a great production to which to have my name attached. With one particular exception, I haven't really made any other new fast friends at any discernible depth, yet I like everyone in the ensemble, and at least don't get the sense that anyone dislikes me. I actually have developed a fondness for a few of those who are new to me, even if that has not measured out into any sort of bonding save for that one exception. Beyond this: I certainly admire everyone's talents and skills!

Once again, I am exceedingly grateful to Kevin for including me in another rich theatrical experience for an actor.


FOR THE LOVE OF THE CRAFT ICON
THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.
AUDITION ICON

Tonight will conclude the auditions for our next Guild offering, Frank D. Gilroy's The Subject Was Roses. I auditioned last night, as planned. I actually feel very good about my audition; however, I am pessimistic about being cast, at least based on the turnout last night. In my estimation, there were only two viable candidates for the son, and it would be asking for a pretty big stretch of the audience's suspension of disbelief to buy either of them and myself as father and son. We just do not at all look like we could be from the same gene pool. On the other hand, at least one other actor auditioning for the father, and a very good actor, does look like he could be the father of either contender for the son. Tonight, new auditioning actors, if there are any, could change the game, but as of last night, I see a cast that I would not fit into terribly well, despite that I am quite confident there was no one there who gave a better read for John than did I.


Ooops!
THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.
DTG Podcast Production logo

This podcast has followed the trend this season, thus far, of not making final cut before the show opens. In fact I did reach final cut Sunday evening, yet, there was a technical problem that I hope to have fixed this evening. Apparently I pushed the volume levels too much in the edit master. Playback of the master belied no problem, but the rendered Quicktime movie had volume distortion, the type that comes from recording a signal too strongly (too loudly) and doing what is called "pegging the meter." Pegging the meter simply means the volume meter goes into the red danger zone (too hot or too strong or too loud). It's what happens, for instance, when a singers put the microphone too close to their mouths and their voices are distorted with a fuzzy, overdrive-like sound.

The rendered movie had that sort of audio peg distortion peppering it. I decided to go ahead and create the compressed version to see if that would somehow clean the audio up. I was doubtful that would happen and my doubts were correct. Still, I uploaded the podcast to the DTG youtube channel, but I made it a private video, so that before it was public and available to the masses, I could see if youtube might clean it up as they processed the movie for on-line consumption. That fix, also, did not happen.

Last night I began the process of going through the edit master -- the Final Cut Pro X project file -- and dropping volume levels while rebalancing between foreground and background audio. I hope to finish tonight and get the fixed version posted on youtube tomorrow. The podcast is already past deadline, I'll be damned if it will be both late and have such compromised audio added into the mix. I already put out one with defective audio, DTG podcast 1314-01 45 Seconds from Broadway ; I'm not doing it again.



ThanksGiving Day 2013

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HAPPY THANKSGIVING from K.L.






FIDDLER ON THE ROOF  at The Human Race Theatre Company

Three shows and one sing-along left.

Things have still swam along with the Tuesday and Wednesday show.

I did have odd moment when the moment after I had done a, ahem, "dance move," I could not remember if I had turned the correct direction.


THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.

The Cast of The Subject Was Roses

CHARACTER
           ACTOR
John Cleary            Geoff Burkman

Nettie Cleary            Angela Riley

Tim Cleary            Alex Chilton




THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo. DTG Podcast Production logo DONE
better late than never
The podcast rendering made it to final cut at about 2:30 yesterday morning; then I had to take the external hard drive, which I edit 1080p high def movies on, to the rent-payer so I could compress the 35-gig master Quicktime movie down to a reasonable three-plus-gig version for the upload to the DTG youtube channel. The render of the master Quicktime movie happened while I was asleep, and though I had set a timer to wake me in the middle of the night to start the compression, I neglected to actually start that timer, so when it was time to come to work, I had not compressed the podcast yet. That thus happened in the office, as did the upload to youtube. It was posted to the channel about 12:45 pm yesterday and was on the front page at the DTG website by about 2:00. I still have complaints about the audio but it's passable as it is. I need to get familiar with the Final Cut Pro X audio filters. I am sure a lot of the sound quality issues I have could be fixed with one or more filter.

Well, here it is, if slightly less than perfect: Click Here.



Sat, Nov 30, 2013

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CLOSING TODAY
FIDDLER ON THE ROOF at The Human Race Thatre Company.
I was quite pleased to make my third appearance on The Human Race Theatre Company's Loft Stage in Fiddler on the Roof, where I appeared as Rabbi.

The Cast of The Fiddler on the Roof

CHARACTER
       ACTOR
Tevye
       Drew Pulver
Golde
       Rachel Coloff
the rest in alphabetical order by actor's last name

The Fiddler
       George Abud
Fyedka
       Adam Brown
Nachum/Accordion/Guitar
       Jay Brunner
Vanya
       Eric Byrd
Chava/Fruma Sarah
       Ashley Campana
Lazar Wolf
       Saul Caplan
Shprintze
       Abby E. Cates
Seth/Clarinet
       Brent Eresman
Hodel
       Charity Farrell
Zev/Mandolin
       Joel Greenberg
Mordcha
       Ryan Heinrich
Motel
       Drew Helton
Yussel
       Joshua Silver Hughes
Perchik
       Josh Kenney
Yente/Grandma Tzeitel
       Caitlin Larsen
Sasha
       Adam Lendermon
Mendel
       Matty Rickard
Constable
       Jeff Sams
Bielke *doublecast
       Hannah Sayer
Shaindel
       Linda June Snyder
Rabbi
       K.L.Storer
Bielke *doublecast
       Jordan Vandersluis
Tzeitel
       Christine Zavakos
Production Team

Directed by Kevin Moore

Chris Crowthers (Choreographer), Jay Brunner (Instrumental Music Director), Janet Yates Vogt (Vocal Music Director), Kay Carver (Production Stage Manager) Dick Block (Scenic Designer), Tony Ray Hicks (Original Costume Designer), John Rensel (Lighting Designer), Nathan D. Dean (Sound Designer), Christie Peitzmeier (Costume Coordinator), Scott Kimmins (Technical Director), Heather Powell (Properties Master), Bethany Perhach (Assistant Stage Manager), Lexi Muller (Production Assistant), Andrew Ian Adams (Wardrobe), Patrick Allyn Hayes (Wardrobe)



Tue, Dec 3, 2013

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FIDDLER ON THE ROOF  at The Human Race Theatre Company
POST-SCRIPT

First, the Sunday, Dec 1, Fiddler-Sing-Along -- I must confess I was more than slightly skeptical that the sing-along performance would succeed. I was wrong. It was actually fun for the cast and the audience. It was a new adventure for The Race as well as we in the cast and crew, so what would unfold was up in the air for all.

But the audience enthusiasm sent off a great energy and vibe that we could feed on. There was a concern that the audience singing along might cause some tempo drag, but I really didn't notice any, so, though it was prudent to have the concern, it seems unfounded in retrospect.

On a strictly personal level, it was a nice way to ease out of my departure from a production that I found rewarding both professionally and personally. Psychologically, it softened the blow by allowing us to do portions of the show after we had performed our official closing show. It sounds weird, possibly, I know, but still, it softened the blow.

The Last Two Months of My Life -- I do miss the show and the ensemble already. I parrot the sentiments of Mr. Saul Caplan, by saying that it's difficult to relay adequately how special the experience of the past two months were, both professionally and personally. It was pretty magic to work on such a fine production with such a capable and amiable cast and crew -- and believe me, the "amiable" is far more important than some may realize, especially when it's as much as a two month span of rehearsal and production.

As I wrote earlier, I didn't make a lot of new fast friends in any deep sense, but I came to like each of the whole ensemble, if I hadn't known and liked them already, and I became quite fond of some of those new to me. Again, that counts, not having any uncomfortable, awkward personality conflicts.

Below is the gift card I made to give out to each of those in the cast and crew, and the sentiment, "I feel provileged to have 'Danced and Played Together' with you," is an absolute truth. I'm not going to go through the litany of impressive performances, but there certainly were a lot of such impressive performances going on every night. Many were down right excellent! A lot of great skill and several so very touching moments.

Such good fortune fell on me to be included in this cast and this production.

Cast and crew gift for FIDDLER ON THE ROOF at The Human Race Theatre Company. Photograph of the set with a text message superimposed. Text: "Remember FIDDLER, There on The Loft stage. Remember the cast and crew? They Danced and played together. Well I just heard it was a fine production. And they broke many legs ~ ~ ~ In Dayton. 'No!' 'Yes!' 'They didn't!' 'They did!' -- I feel provileged to have 'Danced and Played Together' with you"
To the tune of "The Rumor," if you know it.





Fri, Dec 6, 2013

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into the light of the dark black night -- Nelson Rolihlahla Mandela (1918-2013)









MISCELLANEOUS ICON

Snow Day -- This morning, the rent-payer was delayed until 10:00, so I am missing my first three hours in the office today. The day is young, however, as I key these words at 9:03 am, (DST), Winter Storm Cleon hasn't but only begun to arrive is the Miami Valley, wehre I live. There's a chance I will be leaving said "rent-payer" before my scheduled 3:30, though I'm not thinking it's a big chance. I think this morning's delay was about icy roads and the campus need to get all the surfaces roads, parking lots, and foot-travel areas cleared of ice. As I write this sentence, I haven't been out on the roads yet -- though I did go to my car to get my coffee mug -- but where I live, it's minimal snow accumulation but ice.

Severe weather report for Dayton, Ohio area. Tonight, however!....... This being the first performance I am available for, I scheduled myself to host The Gifts of the Magi at The Guild tonight. There's more of a chance that we may need to cancel tonight's show than my leaving work early due to closure.


Now it's a bit later in the day and I'm at lunch. The drive to work was mostly just a little slick. The exception was when I hit a patch of black ice on a rural stretch and almost slid into a ditch. If there is going to be "4 to 8 inches" then we must have a heavy snowfall still coming, because the flurries out there now would take more than all weekend to give us that.

Still, at the moment I write this (12:32 pm) weather.com says "2 to 4 inches of snow expected" through the today and "Snow accumulating 1 to 3 inches" tonight for my area.

Let's hope we can keep, the show must go on, alive tonight at The Guild.

Here's one.... -- I had an interesting dream the other night. It took place in a rather extraordinary television studio. I'm not sure what the TV show was but it was apparently a hybrid of Studio 60 on the Sunset Strip and the production of Fiddler on the Roof I have just finished appearing in at The Human Race Theatre Company, with some element that at least partially borrowed from Tolkien's Hobbit/Lord of the Rings universe.

The studio was some sort of underground, cavernous dugout, with the heavy taste of the medieval-like Middle Earth of Tolkien's work, complete with wooden bridges, laid and fastened with rope, that span deep crevices, and torches coming out of the crudely cut stone walls. Yet there was equipment associated with television and film making all around, including monitors in the walls that I knew in my dream were to watch tapings and broadcasts of the show associated with this studio. My Fiddler castmates were the talent for this show, whatever it was. I was in some common area, a big stone room with tiers made of wood around the edges, and that had large rounded open causeways that led to them. I shouted for everyone to gather around. After they did I announced that Kevin Moore, who looked just like Danny Tripp from STudio 60 (Bradley Whitford), had to go to Europe to work on a new project and I was now the executive producer of the show. I gave some kind of pep talk then strolled through the caverns and levels, listening to the cast and crew (all from Fiddler) as they chatted with each other. They didn't see me and I have no idea what they were saying.

So: Freud or Jung?



Sat, Dec 7, 2013

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Sun, Dec 8, 2013

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John Lennon
Oct 9, 1940-Dec 8, 1980






CLOSING TODAY
a show for the whole family
THE GIFT OF THE MAGI, Book by Mark St. Germain; Music by Randy Courts; Lyrics by Randy Courts & Mark St. Germain, at The Dayton Theatre Guild.

The Cast of The Gift of the Magi

CHARACTER
           ACTOR
Willy            Bobby Mitchum

Della            Meagan Kuchan

The City: Him            Jared Mola

Jim            Shawn Hooks

The City: Her            Kelli Locker

Soapy            Dave Nickle

The Podcast for The Gift of the Magi


Mon, Dec 9, 2013

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YouTube (?) :
GENERAL TECHIE STUFF ICON

I have been noticing that some of the YouTube video embeds on the blog have not been loading recently. I don't know if the problem is in my code (perhaps too many embeds on the web page) or if it's some problem from YouTube or elsewhere.

If you happen to see a big square hole where it's obvious a video ought to be, let me know: KL_Storer@yahoo.com.


THE GIFT OF THE MAGI & Dayton Theatre Guild combined logo.

CATCH UP

Friday's SNOW DAY -- Yeah, I did not make the show Friday evening. I was on my way, but the roads in my little rural area of the Miami Valley where on the brink of being worrisome. It was a little before 6 pm. The snow accumulation on the major thoroughfares was actually not all that bad and the snow fall was light and was supposed to end between 9:00 and 10:00. The accumulation around my home was a little thicker, not on the roads right by me, but all the rural roads right outside my little burg were not quite as cleared off.

The real problem was more the indication that the roads were getting more icy. That was bothering me the most. I was on my way into Dayton and the show. The highway was starting to give signs that the falling temperature was making things slicker; and that was on a major highway. Oh, there was also a traffic slowdown then a short stop due, I found out later, to an accident down the highway.

There was still snow falling. The iciness was gradually flourishing. I was doing some math. It was only a little after 6:00. The curtain was at 8:00. I would be there until at least 9:30. That's three and a half more hours of snow fall, even if not heavy snow fall. That's three and a half more hours of temperature drop and maturing icy conditions. The major roads might not have been a problem, but the rural roads close to my home would likely be. I pulled off the highway and headed back the way I had come.

By the way: close to home I almost slide off the road into a ditch, just as I had on the way to work that morning.

I found out later that the theatre had a small audience for the Friday night show, twenty-seven, I believe was the count. Some portion were new to the theatre and they were impressed, according accounts, with the show and the theatre, were glad there was something close by to do, and said they would be back.

So, YAY!

Saturday's Show -- I may not have been "host" on Friday, as scheduled, but I was "audience member" on Saturday, my first time to watch the show without having some other concern on my mind -- though I admit I did attend to down right and down left vom entrances by the actors, so I would have my camera 2 pointing at the correct ones for cut-away shots for the archive DV movie of the show, which I would shoot the next day.

Putting away, as best I can, the bias of The Guild being my home theatre, where I am on the board of directors and heavily involved, and putting away, as best I can, my bias because I had some involvement with the production, I can say I watched some damned good live theatre on Saturday afternoon. Of course, I had already frequently watched during the rehearsal period and already knew it was a top-notch show, but it was nice to sit down in the audience and take it in as entertainment. I was impressed anew by the cast and by Musical Director Luke Williams' effortless accompaniment on the electric piano.

A great score done justice by the musicality of the performers and a lot of very on-target characterizations.

The Production -- Not to be too terribly redundant, but: what a fine production all across the board! Kudos to all who put this show together and carried it out:

Director Kathy Mola, Musical Director Luke Williams, Choreographer Courtney Wheeler, Bobby Mitchum as Willy, Shawn Hooks as Jim, Meagan Kuchan as Della, Jared Mola as The City: Him, Kelli Locker as The City: Her, Dave Nickle as Soapy, Stage Manager Patty Smith, Run Crew Kelly Engle, Producers Barbara Jorgensen & Carol Finley, Set Designer Blake Senseman, Lighting Designer Nick Vanderpool, Lighting Technician Melanie Davis, Costume Designer Linda Sellers, and Properties Designer Deirdre Bray Root.

If there aren't multiple Daytony Awards for this production, well that will be more in the mounting crimes the Daytonys have to answer for.


THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.

DTG Podcast Production logo
One or more nights this week will be the first shoot or shoots for the podcast. I doubt I shoot a lot, any night. Between trying to keep my sanity while editing -- i.e.: not having a tonnage of footage to drive myself crazy choosing from, and the newer problem of having memory storage space for the larger high def DV movie files, I now am more conservative about raw footage than I use to be, yet still trying to remember: too much footage is better than too little footage.

Meanwhile I have a plea into Mr. Gilroy's representation, William Morris Endeavor Entertainment, to see if I can even get to the appropriate person to request clearance to use dialogue from the script in the DV movie. Whether or not I get results even on this first volley is a toss-up. My first inclination is that there will not be copyright clearance granted, but I have believed that before and been surprised by very generous responses from some pretty heavy-hitting playwrights or their representatives.

SOUND DESIGNING ICON
I have not actually begun to do sound design for this, as per gathering material together, but I have my concept, which I have shared with Director Marcia Nowick, and with which she is on board. She also has asked me to get some fox trot and polka music together so a choreographer can work with cast members tomorrow night on some dancing in the first act. May not be the music we end up using in the production, but it will be, at least, work for the early rehearsal period.



Thu, Dec 12, 2013

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THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.

DTG Podcast Production logo
Last night I shot the first footage for the podcast. Very clearly it will be b-roll, as it was a very early blocking rehearsal, and also the HVAC was cranking pretty loudly, making the use of audio from the footage pretty untenable.

I also shot it with my Canon set at FXP video quality, rather than the highest setting of 60P. FXP is still full 1980P high def, but trims the Mbps (megabytes per second) in the file size by more than 30% (24 Mbps as opposed to 35 Mbps). This will help keep my storage problem at bay. The two podcasts I have done in HD both have a total memory storage accumulation of a terabyte. I really want to archive all the source footage rather than triage any to the delete column. With my want to have a back up for the archive storage, that amounts to 12 TBs per theatre season, just for podcast archives. That includes no other DV movie projects, and it does not account for the work space for whatever current project I have going, podcast or otherwise. And just one 8 TB external hard drive is going to run between $750-$800. I already will be shelling out some serious cash for storage; any way to retard the need for each new external hard drive is a good thing.

I really hope I can live with the resulting video quality I get from shooting in FXP. I dumped it last night when I got home and my cursory look at it in FCPX did not send any red flags up. I didn't take a close gander, however.

Meanwhile, I have yet to hear back about copyright clearance to use any dialogue from the text of the play in the podcast. Until I hear, "No," I shoot as if we can. If in the end, it's "No," or if we never hear, also "No," video with good audio can always be made silent and used as B-roll in the final cut.

SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Director Marcia Nowik requested both a fox trot and a polka so a dance instructor could work with cast members this week on some dance moments in the script. Both recordings may become those which are used for the segments in the production, or the may be replaced.

Design work is planned for this weekend. I will work on this dance music so it will come from the radio: add channel-change SFX and radio announcer voice (even if temporary), then get that all into the Show Cue Systems design project for this show, so the cast can rehearse with a smoother sound cue transition starting next week.

The set also needs its period telephone and radio both made practical, those which I work on this weekend. I will need Dr. Bob Mills' electrical engineering expertise to send the charge to the phone ringer. It doesn't take a Ph.D in electrical engineering to do that, but it takes more electrical engineering smarts than the guy writing this blog has; and Bob has a Ph.D in electrical engineering, so it just works out that way. The radio will be much simpler. I can run a sound cord from the booth to the radio, attach it to the speaker inside, then we should be good to go. I already have located enough length to make the trip.

So after I spend my Saturday afternoon at the Victoria for It's a Wonderful Life: A Live Radio Play, I'll drop into The Guild and do all this sound stuff, plus probably more.


MOVIE PRODUCTION STUFF ICON
My Canon Vixia HF R40 HD Camcorder icon

At work on Monday it dawned on me that my Canon HDDV movie cameras have HDMI (High-Definition Multimedia Interface) outputs, and that the 24-inch flatscreen HD TV I bought in early October has HDMI inputs, which is pretty standard these days. Since the 24-inch is an extra TV, it seems to me that in certain circumstances, it would serve as a great monitor for me when on a set of mine. Some situation where I am directing and not operating the camera, such as some as of yet unknown narrative movie project.

I will need to get an HDMI coupler since the input into the camera is smaller than the HDMI standard, and the cable that comes with the camera, with the smaller male on one end and a standard male on the other, is not terribly long. For more length between the camera and the monitor I would want to have an extension HDMI cable that the coupler will attache to the camera's HDMI cable. I need to test to be sure I can feed live footage through the cable to a TV/monitor, first, though, even if I am pretty sure that I will be able to do so. Having a good monitor screen to watch will be a good thing if and when the need arises.

However, when I upgrade to a pro-level camera, probably a Blackmagic Cinema Camera I will, with a high probability, need a monitor that works with SDI (Serial digital interface). I know for sure that this is true about Blackmagic, and probably any other pro-class HDDV camera I might otherwise get, if I end up not going with a Blackmagic model.


In the audience icon

The second half of this week I will experience an odd sort of triangulation crossover. I will see two "radio plays" and two different reinventions of A Christmas Carol within three play productions.

A Christmas Carol: A Radio Play -- Written and directed by Teresa Connair, this one is up tonight through Sunday at First Lutheran Church, 138 W. First St., in Downtown Dayton, at the corner of First St, & Wilkinson. I will be there for the opening performance, tonight. David Hallowren, Leo Santucci, Max Santucci, and Matt Linsday are among the cast members. See www.firstlutheranchurchdayton.com for more detail.

Fellow Passengers -- Tomorrow night I'll be at the Dayton Playhouse for Greg Carter's narrative version of the Dicken's classic, done as a staged reading. Megan Cooper, Charles (Chuck) Larkowski and Franklin Johnson, each play multiple roles.

It's a Wonderful Life: A Live Radio Play -- To repeat from above, Saturday afternoon I see the matinée of this Human Race Theatre Company production of Joe Landry's adaptation of this other classic Christmas tale, which runs through Sunday at the Victoria Theatre. Scott Stoney, Kevin Anderson, Aaron Vega and Scot Woolley, are among the cast members.


PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS

Taprena Augustine appeared Tuesday on The Wendy Williams Show as one of the Joplinaires, to perform a song from A Night With Janis Joplin, for which she has been gigging for a while now. I did not get to see the segment, but I am more than sure it was superb. I'm hoping it will become a clip on the Williams website.

*As always, I will warn that there may be a whole lot of giggin' by my friends and colleagues that I have missed or am completely ignorant about. If one or more of these many talented people has a forthcoming or current gig that has not been mentioned here, it is not because I am slighting them, I promise you -- rather, it's because I am ignorant. Of course, it may be because I have one or more mentions elsewhere on the blog, though probably not.



Thu, Dec 19, 2013

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Last weekend saw some losses to the world of acting

A true elderstateman actor. Peter O'Toole (Aug. 2, 1932 - Dec. 14, 2013)

Billy Jack was cool, Tom was cooler. Tom Laughlin (Aug. 10, 1931-Dec. 12, 2013)
"In the early 1960s, Laughlin put his film career on hiatus to start a Montessori preschool in Santa Monica, California; it became the largest school of its kind in the United States. In his later years, he sought the office of President of the United States in 1992, 2004, and 2008. He also was involved in psychology and domestic abuse counseling, writing several books on Jungian psychology and developing theories on the causes of cancer..." -- Wikipedia:Tom Laughlin
an American Classic: Joan Fontaine, (Oct 22 1917-Dec 15 2013)
Ms. Fontaine was the only actor to ever win an Oscar for lead work in a film directed by Alfred Hitchcock -- Suspicion (1941)



CATCH UP

THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.

SOUND DESIGNING ICON
The sound design is moving along. I have worked with Director Marcia Nowik to get the best music into the radio for the dance sequence in Act I:Scene 1, where Nettie (Angela Riley) and Tim (Alex Chilton) dance a fox trot then a polka. What I had originally used for the fox trot, I needed to speed up a little bit for the better use of the actors. I was able to punch the speed then use a pitch filter to bring the key back down to the original tone.

There is a vintage radio on the set. The hope was to be able to hook into the speaker in the radio, however, the apparatus was too dilapidated. I tried a couple speakers in the guts of the radio but neither worked well as they weren't amped. Since the channel being used for the radio is channel 5, from the computer's sound card, that channel does not go into the pre-amps in the booth. I placed the amped speaker we have just used as the down-right floor monitor for the singers in The Gifts of the Magi. It works like a charm.

The programing design for the segment has the sound of a tubed radio being turned on, followed by a few moments of talk from a 1946 radio program. Then Tim hits a channel preset button and we hear a half-second of channel surf into the fox trot instrumental, in progress -- right now it's the last 60 seconds of the music. When the song ends there is a radio announcer that causes Tim to rush to the radio and presses another preset button and we come to the polka number. The Mother and son dance to that, as well.

Marcia had me switch out the original fox trot music for another composition, this time that I slowed down just slightly, then, this time, upped the key back to its original. That first recording will now be used, in its original, unaltered condition in a scene in Act II. Music will be coming from the radio all through that scene, and I have at least preliminarily chosen the rest of said music pieces to finish out the scene.

Going back to Act I:Scene 1, the script calls for the polka to speed up. What we are using does not actually do so; well, it didn't; it does now.

Back on the music for Act II, I was able to design an effect that I have contemplated about how to engineer in the past. The song will start with a robust fidelity on the all four house speakers, as the scene change music. When lights come up for the scene, it will transition to the radio speaker, with the fidelity processed to have more of a radio speaker feel -- in other words, much of the low end is dropped out; I have done that for all music coming from the radio.

I have not yet delved into the show open or close music, nor the rest of the scene-change music, but that is the next big thing. I have a sufficient amount of big band to draw from for these tasks and the pre-show and intermission music, though I'd like to diversify the artists a bit so am likely to go fishing for more artists and titles to draw from for these tasks.

DTG Podcast Production logo
Tonight I shoot a little more footage. Since last I blogged I have only shot one other time, and not much that night. As the rehearsals progress and the actors get better footing on their characters, lines and movement, I will increase the frequency and length of the shoots.

Still have not heard word about copyright clearance to use dialogue from the script in the podcast. As I have stated before, I will shoot footage at some point as if I have been granted clearance and then of clearance does not come, I just won't use the audio from that footage.

xxxx
In the booth where sound was being worked on.
xxxx
Amped speaker inside the vintage radio.
xxxx
Two of the Canon HD Camcorders, on tripods, in prep for podcast principal photography.



DR. LAUREN HILL RIDES (TESTIFIES) AGAIN:
U.D. Law - University of Dayton School of Law icon

I will reprise my roll as the chest trauma medical expert for the medical mal-practice trial class this coming winter/spring. Looks like Dr. Hill's first meeting with the defense council is Jan 15, in the afternoon.


DOH!:
Craft Notes icon
GRAPHICS ICON

About two years ago, perhaps a little farther back, I noticed that a PNG at a web site had a transparent background, which before then I only knew was possible to do with a GIF. Some of you may not know what a PNG or a GIF is. They are both types of computer graphic images. They were both developed for the web, yet can be used with other electronic media and software.

A PNG (Portable Network Graphic) is newer than the GIF file format, introduced about seventeen years ago, and is a pretty robust graphics file format, the type of which most images at my website are. The GIF (Graphics Interchange Format) is older, and still a very strong and popular file format that was especially popular in the earlier days of web development because the file size could be so much smaller in file size than comparable quality images of the JPG (aka: JPEG) or BMP (Bitmap) image file formats, to name two other popular types.

One big attraction to the GIF is the ability to mask any particular color in a GIF image which makes that color invisible when the image is displayed on a web page. All images on the web are actually squares or rectangles. When you see a globe floating on a page, it is actually a globe on a square image but the background of that image has been made transparent (invisible) so the right angled corners of the image are gone. You see only the globe. It's done very frequently with text images so the words are free-floating. there are a lot of examples of that below in the "promotions" section at the bottom of this page, including that particular header text.

Without getting too terribly technical, one drawback to GIFs is that the largest amount of color variance that can be used is 256 -- there can only be a maximum of 256 color tones used in the image. PNGs, like JPGs, utilize millions of color variances which can make for a much more robust image. I have often made a PNG image, that I want to float, as in some text images, then made the background of that image exactly the color of the web page background so it would seamlessly blend in like camouflage, and disappear as if it were a masked transparency. The problem is, if I ever want to change the web page's background color, I would have to also remake that text image with the new color as its background, also.

GRAPHICS non-transparent example, with white background visible
My new "Graphics" icon without the white canvas turned off -- i.e.: with the white background NOT transparent.
What I didn't realize, even when I discovered a PNG with a transparent background was they were originally developed with that intent. Also, once I discovered such PNG's I didn't know how to create one. I use Corel Painter 12 to create and manipulate images. Though there is a specific command to make a color transparent when creating a GIF in this software, I saw no command to make a color transparent for a PNG. Corel Painter, like many other more complex image softwares allows the artist to create different elements of an image on different layers, all that are collapsed and incorporated into one layer for the finished image. The bottom layer is the canvas, which, unless you change it, will be white. But you can turn the canvas off. What I experimented with the other day, on a whim, was saving an image as a PNG with the canvas turned off. That was the "Graphics" text image icon that you see at the top of this section, and for which you see to the left with the white background left on in an alternate version I created as an illustration of the point. There is probably a way to mask another color, other than the canvas, and make it transparent, I just haven't learned that one yet.

This may have bored most of you five regulars to tears, but, for me, it was a valuable discovery, despite that millions of electronic graphic-image creators all over the world already knew this.

Hey, as in all things, my journey is my journey.

PS: To the best of my knowledge, the GIF is still the only image format with which one can create animations -- I'm not talking about movie formats that have to be embedded on a web page, I mean image files that are placed on the page with the "<IMG>" HTML code command.


MY THREE-DAY TRIANGULATION CROSSOVER THEATRE TREKKING:
In the audience icon

Two radio plays -- staged presentations where the actors play performers in a radio station, broadcasting a radio play of the stories. Two reinterpretations of Charles Dickens' A Christmas Carol, one a staged reading. Thus, the "triangulation crossover."

A Christmas Carol: A Radio Play -- Thursday night I saw this cute, sweet production adapted from the Dickens' tale, both written and directed by Teresa Connair. Teresa has named her theatre troupe, which performs at the First Lutheran Church in Downtwn Dayton, the Undercroft Players -- "Undercroft," in this instance, I believe, meaning: underneath the ground floor of a church.

For this production, the Undercroft Players were David Hallowren (as Scrooge), Kathleen Anderson, Andrew Connair, Elizabeth Conair, Levi Handcock, Preston Handcock, Spencer Handcock, Gabriella Larranaga-King, Matthew Lindsay, Elizabeth Manning, Terry Morris (Yes, THAT, Terry Morris, of The Dayton Daily News), Leo Santucci, Max Santucci, Joseph Sellers, Linda Sellers, Sarah Sellers, and Pastor Bob Swanson. One of the things I found very clever was how the comercials for the faux radio broadcast were for the actual sponsors of the production, including the church and various of its ministry offerings.The show closes today after a 3:00 performance, showing at the First Lutheran Church, 138 West 1st St., in Downtown Dayton.

Fellow Passengers -- Friday night I was at the Dayton Playhouse to get that other version, during my three-day sojourn, of the Dicken's classic, Greg Carter's version. Really pleasant night being told the tale by Megan Cooper, Franklin Johnson and Charles (Chuck) Larkowski, in a staged reading directed by Dodi Lockwood. Loved that the three each played the multiples roles with no regard for gender (Franklin and Chuck taking some female roles, Megan some male roles) and that all three actors switched off playing Ebenezer Scrooge. Fun time and great set!

It's a Wonderful Life: A Live Radio Play -- And then, of course, I saw the Saturday matinée of the HRTC production of Joe Landry's adaptation of another classic Christmas tale, which was staged at Victoria Theatre. As I wrote last time, Scott Stoney Kevin Anderson Aaron Vega and Scot Woolley were in the cast. They, their cast mates and Director Joe Deer and his creative team put together the cap off of my triangulation crossover endeavors. And, another great set!


To all three of these productions, I say:
CONGRATULATIONS!



TAPRENA AUGUSTINE ON THE WENDY WILLIAMS SHOW, PART 2:
PROMOTING MY FRIENDS & COLLEAGUES IN PROFESSIONAL GIGS

Below is the clip of Taprena appearing as a Joplinaire from A Night With Janis Joplin on The Wendy Williams Show this past Tuesday. She is the Joplinaire in the middle.

Hey! Taprena!.....
YaY!
*As always, I will warn that there may be a whole lot of giggin' by my friends and colleagues that I have missed or am completely ignorant about. If one or more of these many talented people has a forthcoming or current gig that has not been mentioned here, it is not because I am slighting them, I promise you -- rather, it's because I am ignorant. Of course, it may be because I have one or more mentions elsewhere on the blog, though probably not.



Mon, Dec 23, 2013

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MOOD MUSIC:
THE SUBJECT WAS ROSES & Dayton Theatre Guild combined logo.

SOUND DESIGNING ICON
Thursday night we gave the underscore music for the scene in Act II a try and found it did not work. The big problem is that Big Band always has a lot going on and tends to feature a lot of solo lines from trumpets and clarinets. Even when the tempo and mood is subdued, and even when the volume is low, the music still calls much attention to itself. Both Marcia and I think we need to migrate to classical work, and I personally think chamber music and solo concertos are the way to go. I have drawn together several recordings that I believe will work, just from my own library; I have a few other sources to troll, too. So, the Cleary family radio will be tuned to a classical station in the scene.

DTG Podcast Production logo
Not much on the podcast production. I shot a little Thursday evening, as planned. More footage will be shot tonight. Still no word on copyright clearance for to use dialogue.


ADULT ADVANCED ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

I am officially registered for what I believe is my seventh time in an advanced acting class with Kay Bosse at The Human Race Theatre Company. The class sessions run January 6 though February 10. It'll pretty much be the same class roster as it has been the last several times. At this point Kay is talking about doing some work by Tony Kushner.


INTO 2014:
THE BUSINESS OF ACTING ICON

I will likely have news soon on the "professional" acting platform.

Whether it means anything to anyone besides me, is another question.



Christmas, 2013

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Have a wonderful Christmastime




Winter Holiday Feature

"Before The Unwrapping Begins" a Christmas poem by Cynthia DiSciullo and William Zigmont

Christmas Poems by Kathleen Patricia Egan

Christmas Stories (and an essay) by Leola Claiborne Carhee

"Let Me Come In (a Christmas poem)" by Richard Bugg

"My Little Friend" by Malathi Nidadavolu
*illustrated by Rambabu Arle

"The Spirit of Christmas" by Butterflypoet




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