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

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

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Wed, APR 1, 2015

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YaY!
PROFESSIONAL GIG ICON
YEP ICON
On Set icon
I am quite pleased to announce that I have booked a featured supporting role in an episode of the new Starz cable channel series, Blunt Talk, starring, Patrick Stewart. I will play Walter Blunt's American cousin, who is on the opposite spectrum from Mr. Blunt's ultra-crazy conservative image. I actually got to read on Monday with Patrick Stewart.

It was absolutely awesome.

It's also April 1, today -- you know: April Fools day? So, come on....I never even got an audition for this particular series.


OKAY!.... NOW....:
AUDITION ICON

PROFESSIONAL GIG ICON On Set icon
AND IT'S ON TO THE NEXT AUDITION ICON

Actually, the audition for a featured supporting role on an episode of a cable series was for the first episode of the forthcoming fourth season of the Cinemax series, Banshee, and I am sorry to report that I have not booked the gig.

FOR THE LOVE OF THE CRAFT ICON On Stage icon
So, in a few weeks, I will move on to that "next audition" as I go after Nicky and Trekkie Monster in the musical, Avenue Q, which closes this season at Beavercreek Community Theatre.

I don't know what it is with me, a self-professed straight-play actor, continuing to actively pursue roles in musicals. I guess it's just that there are specific musical roles that attract me. One of my bucket-list musical roles is coming around in the 2015/2016 season in the area. To be generous to myself, I am at the last juncture where it could even be considered remotely practical to consider me for the role, and that may actually be delusional on my part. I'm going after it, anyway.


DRAMATIC READING FOR PLAYWRITING CLASS AT THE HUMAN RACE THEATRE COMPANY:
FOR THE LOVE OF THE CRAFT ICON

Saturday's final prepared reading for the Playwrighting - Level II class at HRTC, taught by Michael London of the Ohio Playwrights Circle, went well.

I stumbled over a few words during the reading, which didn't impress that ultra-perfectionist critic in my head, but, he's always going to find something.


NEXT TO NORMAL & Beavercreek Community Theatre combined logo.
POST-MORTEM

POST-SCRIPT
Part 2

fb post - "Those times when you know that even though there's no Equity Sgt. nor pay check, it still might as well be a professional production."

It's been two-and-a-half weeks since we wrapped the show, so I have a bit of distance, which should help me have a clearer perspective. This is not going to be an involved response or assessment or whatever we want to label this; it's going to be short and sweet.

First of all, I have to repeat what I wrote last month about that I was privileged to be surrounded by such great work from all the rest of the company:

Becky Barrett-Jones (Diana), Abby Land (Natalie), Geoff Moss (Dan), Desmond Thomas (Gabe), Brandon Ramos (Henry), Matt Owens (Director), David McKibben (Musical Director), Emily S. Phillips (Stage Manager), John Falkenbach (Lighting Director & Producer), Sandra Hyde (Choreographer), Kathleen Carroll (Costume Designer), Maggie Carroll, (Costume Assistant), Shannon Michalak (Sound Tech), Hans Unser (Stage Crew), Jenn Clark (Piano), Damon Barnett (Guitars & Electronic Keyboard) and Thomas Landis (Drums).
The screenshot above, of my Mar 7 facebook post, states an overwhelming truism about the production; it was at a professional level of performance and production. That's not just my thought, there were plenty of informed audience members who expressed such opinion.

As for as my own work I have some satisfactions and some dissatisfactions. I was happy with the life I breathed into both doctors, most especially Dr. Madden. I was most dissatisfied with the several recall-fail incidents I had during the run. Fortunately I never actually went up during a performance, but I did have several instances of bad stumbles, where the words did not deliver at all smoothly. I also was not happy with the health of my throat and voice -- though that's not a personal critique but rather a statement of how I never got to sing at my full capacity. I got some positive response to my work; I even had a couple people give me very positive commentary on it. I had my disappointments. It was not all it could have been. I think if I walk away with anything to use to be better next time, it's that I still have a lot of work to do on focus: that, I believe, is what those recall problems were about.


Criminal Hearts & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/

As planned, I stopped into The Guild after the morning rehearsals for the evening prepared readings for the playwriting class last Saturday. I spent the afternoon working on the sound design for Criminal Minds. I actually brought the design within feet of the finish line, with the sound plot programmed well above 95% finished in the SCS software on the booth pc and no work done in SCS on my laptop. Actually, I went back to the theatre after the evening reading was finished and worked on the sound programing to get to the near-completion mark.



Thu, Apr 2, 2015

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in memory, Cynthia Lennon, Sep 10, 1939-Apr 1, 2015


Sun, Apr 5, 2015

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Happy Easter, Passover and whatever else


Mon, Apr 13, 2015

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AND THE TECH BEGINS:
Criminal Hearts & Dayton Theatre Guild combined logo.

Yesterday was Tech Sunday and on a general note, it went exceedingly well, all around. Our four actors, Katrina Kittle, Nabachwa Ssensalo, Pat Wanzer, and Jack O'Connor clearly are ready for an audience already; man, are they ready! We got an impressive ensemble lined up here. Jason Vogel's lights are working, my sound design is working (though neither design is taxing), Les Dershem's set, though not wholly finished, is looking good. Saul Caplan, our illustrious director, has helmed a fine production, shored up strongly by Stage Manager Deirdre Root and her crew, Sarah Caplan and Mike Beerbower. Linda Sellers is costuming.

We got a show!

SOUND DESIGNING ICON
As I wrote in the April 1 entry, I had the sound design pretty close to finished. Saul then asked if some city street ambiance could be added in some spots. This past Friday, before we had our dry tech, I tried to add the street ambiance as well as another sound cue and the software kept crashing. I was able to reopen and run the show that was already programmed, but I could not add any cues, or change anything for that matter. I decided that the cue file was corrupted and I would have to rebuild it. So we ran the Friday tech rehearsal without the new cues, and I then rebuilt the show's programming after we were done Friday. Actually I came in and tweaked a bit Saturday as well.

I also wanted to place a back-stage speaker to run a canned phone ring. It would have been under a stage riser, right underneath where a phone prop (which is not practical) sets -- so it would be a directed ring coming exactly from the phone's spot. I had some electrical ground problem then some other problems, that I won't go into, that took a bit of my time late Saturday, then the first hour or so Yesterday. I wasn't able to get it worked out before the Sunday tech run; I had the phone ring come from the up left PA speaker. It was only supposed be for the Sunday rehearsal so we could have the sound cue fire at the appropriate time. But, we all decided that it worked just fine. So I nixed the directed placement under the stage.

DTG Promocast Production logo
No tech run tonight, instead, Saul has the cast doing a reading from the script in the board room, while the set is being finished, so I can't shoot the promocast video footage until tomorrow night. But I will likely get Saul's voice-over tonight. Obviously, I did not secure clearance to use dialogue from the play, so we'll hear the director talk about the show rather than hear the characters speak. It's also unfortunate that tomorrow night is the only night that production stills can be taken, so House Photographer (and actor) Craig Roberts and I have to work around each other. Not ideal for either of us, but c'est la vie.



Wed, Apr 15, 2015

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Tax Time skull and bones ICON


DONE



Criminal Hearts & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
I believe the sound design is locked.

There may be some tweaking, but it would be subtle

DTG Promocast Production logo
Monday night I recorded the audio of Saul Caplan's voice-over for Promocast 1415-06 CRIMINAL HEARTS. Last night was the principal photography of the rehearsal footage, which will appear in the final cut without audio. Today I am editing to that final cut, which may be posted and available, later tonight.


In the audience icon
I plan to skip Criminal Hearts rehearsal tonight to go to Can Night at The Human Race Theatre Company to catch Taking Shakespeare.



Thu, Apr 16, 2015

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Criminal Hearts & Dayton Theatre Guild combined logo.
DTG Promocast Production logo

The promocast is done, but it was a little later than it might have been for several reasons. First off Monday evening was changed from a tech run to a table read, so my plans to shoot Monday evening then edit Tuesday had to be nixed. I shot Tuesday evening and had all day yesterday to edit. Except I woke up feeling a bit sick and sometimes when I am sick my eyes won't focus well, especially if I didn't get good rest. This was one of those times. It wasn't practical to try to edit with blurred vision. I went back to bed for a few hours then got up in the early afternoon. I edited the video to completion, but that final cut didn't happen until yesterday evening. I started the upload to YouTube last night and went to bed. When I awoke this morning, the video was live. I watched it only to find that an element, for some reason, was not in the movie. I had to render the movie again, this time, getting the final edit as it should be. Then I deleted the original, flawed flawed movie at YouTube and uploaded the good version. It's now up and running!

* Apr 17 addendum: see next entry for the promocast or its link


Not in the audience icon

My plans to see the final dress rehearsal of Taking Shakespeare at The Human Race Theatre Company, last night were thwarted by the need to finish the promocast for Criminal Hearts.

Now, I guess I'm gonna hafta buy a ticket



Fri, Apr 17, 2015

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Opening Today

CRIMINAL HEARTS by Jane Martin, at The Dayton Theatre Guild.

Click here for the promocast.



Mon, Apr 20, 2015

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OPENING WEEKEND:
Criminal Hearts & Dayton Theatre Guild combined logo.

Opening weekend saw three happy, impressed audiences. I was mostly house manager at the three performances, but also attended to particular key sound cue moments, to check volume levels, mostly. So, I have a very small personal witness accounting of the good work happening on the stage last weekend. The audience members certainly reported such good work. The show is off to a great start!



Fri, Apr 24, 2015

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Heartbreak House & Dayton Theatre Guild combined logo.
THE CAST OF HEARTBREAK HOUSE

in order of appearance

CHARACTER
           ACTOR
Ellie Dunn            Cassidy Rowley

Nurse Guiness            Wendi Michael

Captain Shotover            Chuck Larkowski

Lady Utterword            Lorrie Sparrow-Knapp

Hesione Hushabye            Cassandra Engber

Mazzini Dunn            John Spitler*

Hector Hushabye            Jeff Sams

Alfred Mangan            Geoff Burkman

Randall Utterword            Isaac Hollister

The Burglar            Dakota Duclo

*John Spitler added to the cast on Apr 27, 2015



Sat, Apr 25, 2015

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AUDITION ICON
THE ACTOR PREPARES ICON
HEALTHWISE ICON

As I begin to write this particular section of today's post, it's later Saturday afternoon, I'm binge-watching season 2 of the original CSI on Hulu Plus. The plan was to rehearse a bit for a shortly forthcoming audition for a musical.

But,
          as the first icon here suggests,
                                                                  I am once again, "under the weather!"

Yeah, I'm back to having a cold, a sore throat, and congested chest. There was only a bit of respite, after Next to Normal closed -- naturally, AFTER it closed. Last weekend I started to feel a sore throat coming on. That's been my week. Even was off work a couple days, home in bed, watching CSI.....
.....and not rehearsing the song for the upcoming audition.

It's try-to-nurse-yer-voice day. I may work on editing some piano accompaniment I had recorded a while back for the song I will use for this audition. I've cut the piece down and need to edit the recording to match the cut, so I can rehearse with it. So, while I drink Throat Coat Tea with honey and lemon juice, suck on throat lozenges, drop some analgesic antihistamines, pump the humidifier, gargle with warm saltwater with lemon juice, and not use my voice at all today.

Tomorrow, though,
                                  I will have to rehearse.

It was suggested to me that I am subconsciously bringing this on myself, that I'm trying to avoid something.

I don't think that's true. I very much wanted to do Next to Normal, I very much want to do this one. It could be a stress reaction. Musicals are not my wheel-well, so there's certainly some extra nerves when ever I am involved with a musical. My gut, however, says this is just happenstance.

Any Freudians or Jungians out there?


TAKING SHAKESPEARE, BY JOHN MURRELL AT THE HUMAN RACE THEATRE COMPANY:
In the audience icon

Last night I saw this two-hander, directed by native-Daytonian Aaron Vega and featuring Johanna Leister and Jon Kovach. Really a fine experience all the way around. Strong script; lovely performances by the co-stars; great design work from everyone.

As a sound designer myself I give a special congrat to Jay Brunner, who composed the music as well designed the eloquent sound mix.



Tue, Apr 28, 2015

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AUDITION ICON
THE ACTOR PREPARES ICON
HEALTHWISE ICON
The first of two nights of auditions for my latest targeted production was last night. Giving my throat one more night, I did not go. I will be there tonight.


LAST CHARACTER PART CAST:
Heartbreak House & Dayton Theatre Guild combined logo.

John Spitler has been cast in the last remaining role, that of Mazzini Dunn. He joins Chuck Larkowski (Captain Shotover), Lorrie Sparrow-Knapp (Lady Utterword), Cassandra Engber (Mrs. Hushabye), Jeff Sams (Hector Hushabye), Cassidy Rowley (Ellie Dunn), Geoff Burkman (Alfred Mangan), Dakota Duclo (Billy Dunn), Wendi Michael (Nurse Guiness), and Isaac Hollister (Randall Utterword).



Wed, Apr 29, 2015

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AND IT'S ON TO THE NEXT AUDITION ICON
The show I auditioned for last night was Avenue Q. at Beavercreek Community Theatre. There were callbacks; I am sorry to say I was not part of that process.

I believe I gave a good audition and that I proved I could succeed as both Nicky and Trekkie Monster -- the self same roles I went after and was called back for a couple years back at The Human Race Theatre Company. I even used the same song, my slightly altered version of "Wouldn't It be Loverly," with Nicky and Trekkie singing. Yeah, I think I did a good audition and showed I could do the roles, but I think there is a bent toward casting the principal puppeteer roles younger than I.

The characters are described as being "twenty-somethings" and despite that I can successfully voice both characters, and even though the puppeteers should not be the focus, they are on stage and visible. I think most directors feel that seeing someone who is not "twenty-something" presents a dilemma for the audience; many audience members may not be able to help but assign an older age to any puppet/(character) in question.

I believe it was a factor at HRTC and I believe it is a factor this time. I don't fit what most directors see as appropriate for the actor voicing and puppet-working Nicky and Trekkie. I suspected this age thing alone would be a big hurdle going into this audition so I am not at all surprised, though I am still a bit disappointed. But I sure as hell was not going to stay home because of a suspicion that I might not be cast because of this issue.

Not sure why I have slipped into the habit of not naming the production upfront as it becomes close in proximity. It's not as if I haven't previously announced my intentions to audition for this production. I have a friend who's off on an audition shortly that he is not sharing information about; his explanation for being mum is simply that he's being a bit superstitious. Maybe that's it for me, too. Though, honestly, a lot of people knew I was doing this audition and that I was pretty invested in it.

I am a bit sad because this was likely the very last shot I'll ever have at Nicky and Trekkie. Not sure exactly what my next audition will be, nevertheless, it's on to it, whatever it turns out to be.



Fri, May 1, 2015

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Criminal Hearts & Dayton Theatre Guild combined logo.
In the audience icon
Tonight I will utilize my season ticket package and sit in the theatre as an audience member. Or maybe it's that I'll be as much of an audience member as I can be, about 90-95% of one. I'll be scrutinizing the volume of the sound cues, make no mistake.

I know am going to see a great show tonight, having worked on the production. So, be prepared for a glowing response tomorrow!



Sun, May 3, 2015

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Closing Tiday

CRIMINAL HEARTS by Jane Martin, at The Dayton Theatre Guild, at The Dayton Theatre Guild.

The Cast of Criminal Hearts
CHARACTER
           ACTOR
Ata            Katrina Kittle

Bo            Nabachwa Ssensalo

Robbie            Pat Wanzer

Wib            Jack O'Connor

The Promocast for Criminal Hearts

In the audience icon
Friday I was able to sit in the theatre using my season ticket package and watch as a member of the audience. It was good to be able to experience this fine production from the audience's eyes. Trying to put all my bias aside, the performances were impressive, all the way around.

And the sound design was excellent!    smiley icon

A GUEST AT THE HEARTBREAK HOUSE:
Heartbreak House & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON

I've taken on sound design for Heartbreak House. I have no ideas yet. I'll be getting with Director Patrick Hayes soon to talk needs, concepts, and such. All I know about the show is that it's a period comedy that takes place during WWI.

Guess I have a play to presently read.


INSIDE MULLINGAR:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
SOUND DESIGNING ICON

We are working some preproduction for Outside Mullingar. The most important current business is the audition announcement, which can be seen just below -- *(unless you read this post after July 7 of this year).



Thu, May 7, 2015

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CLEARANCE FOR MULLINGAR:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Promocast Production logo
Nothing new to report as per pre-production for the production proper, but as producer of the promocast I did try to find contact information for Mr. Shanley in order to request permission to use dialogue from the script in the DV movie. I found nothing directly to the playwright, but I do have contact information for his agent, George Lane, of Creative Artists Agency. I've drafted and mailed him a copyright clearance request letter.            Now,            the wait.


Sat, May 9, 2015

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REPRESENTATION & "BEING A TWIT":
THE BUSINESS OF ACTING ICON

It's time to get myself back into a formal relationship with a talent agency. It's past due time. Over the last eighteen-months or so, I've missed the chance to screentest for several bigger professional full-length features that have shot, or will soon shoot, in Southwest Ohio, including the James Franco helmed, The Long Home, which will be shooting soon in Eaton and Lebanon.

I also am quite sure I need to open a Twitter account. I've thought this for a while, but it was always more of: "Should I." Now it seems inescapable that it's not unwise at all. It's clear to me that there's a transition of professional networking toward the Twitter feed. In all truthfulness, I've been lax in my on-line networking for a while, and never was the supreme example of doing it right, in the first place. Hell, I've never been the greatest at any form of networking. I need to step up my game, all the way around.


I WON'T BE DREAMING THAT I MET A GALILEAN:
AUDITION ICON

Thursday and yesterday, really more yesterday, I had an opportunity to audition for the Fairfield Summer Theatre production of Jesus Christ Superstar, which will be up this coming July 16-19. I have more than a little interest, too. I would love to play Pontius Pilate. I spent a good part of Thursday giving serious consideration to going after the role. However, I did a some cost-benefit analysis and that dampened my resolve.

The round trip every day is an average of 110 miles and more than two hours; that's 440 miles most weeks of rehearsal and more than 500 miles a week at the end of rehearsal and into production. It's a grand total of more than four-thousand miles with a projected $300 in gas expenditures. Further, being in the production means I would have no involvement with FutureFest 2015, whatsoever, including attendance in the audience.

This is one of those times when for love of the craft doesn't balance out. I just can't afford to drop $300 right now. Were but it a paying gig, even if just a stipend, that might make the difference. Too, bad, too, because I know a few actors who have done shows there and others who have seen productions, and they all report that said productions are top-notch.

....at some point....


MORE INSIDE OF MULLINGAR:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

There is not a whole lot to report as per pre-production. I have some leads on crew, lighting technician and possible stage crew member. I have a preferred sound tech, but she can't confirmed until later in the summer. It's too soon to have heard back from Shanley's literary agent, George Lane, about clearance to use dialogue in the promocast. That will be this coming week, at the earliest, but more likely a few weeks from now, or later.

In the audience icon
Having closed its Broadway run at the Friedman just over a year ago, this play is already becoming at hot production property regionally, both professionally and non-professionally. We, of course, are opening our 2015/16 season with it, as the first non-professional mounting in the region. But, it's running right now at the Equity house, Ensemble Theatre Cincinnati (aka: ETC). It doesn't close there until May 30, so I hope to get down to see it. The bonus is that Jennifer Joplin, a Cincy actor whose work at HRTC I have always enjoyed, is in the cast, along with her father Joneal Joplin -- that last fact being rather interesting. I wonder if it's the first time they've appeared on stage together.


GUEST PRESENTERS:
Dayton Theatre Guild Community Outreach and Collaboration

Several Guild board members, including myself, will speak to students, eighth-graders I believe, at St. Helen's Parochial School this coming Tuesday morning about the various aspects of "putting on a play." My main thrust will be sound design, though I might touch on producing, as well, depending on which way the wind blows. Meanwhile, Fred Blumenthal will address scenic design, Carol Finley will address costuming, and Barbara Jorgensen will, I believe, address producing in earnest. Between the four of us we may also touch on other aspects, as well as we can: directing, lighting design, stage management and crewing, promotion, box office, set decorating, house managing, whatever of those or other topics may come up -- maybe even the process the actors go through.

I'm looking forward to it. I know it will be fun. I'm bringing my laptop to demonstrate sound files, and a crash box to demonstrate organic sound effects.


In the audience icon

Other productions on my agenda to see soon are Grease at Dayton Playhouse, Shrek: the Musical at Playhouse South, and The Addams Family at La Comedia Dinner Theatre.

Of the cast of Grease, I have worked directly on stage with one actor: Desmond Thomas (Next to Normal). From Shrek, I've worked with Arron Brewer (The Dead Guy), Janelle Chamness (Catch 22), and Abby Land (also, Next to Normal). As far I know, I've not worked on stage with anyone in The Addams Family, but I know I have been in a Kay Bosse-taught HRTC acting class with at least one actor, Rebecca MacDougall, the last class series that ended just before Next to Normal opened in March.



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GUEST PRESENTING FOR THE GUILD:
Dayton Theatre Guild Community Outreach and Collaboration

Yesterday morning was our visit to sixth, seventh, and eighth-graders at St. Helen's Parochial School, where Barbara Jorgensen, Fred Blumenthal, Carol Finley, and I represented DTG in a morning Drama Camp workshop about what it takes to mount a theatrical production. We covered a lot of ground, hitting on, as far as I could tell, all the points at least to some extent. Barb, who took the lead as our facilitator, covered being a producer and overviews of many aspects. As I stated in Saturdays entry that we would, Fred, concentrated on scenic design, Carol on costuming, and I on sound design, though we all contributed comments and information in other areas, including each other's.

The class was comprised of about twenty students. We had a general assembly at first where we all gave a short presentation ("lecture," if you will), then we broke into smaller groups that rotated until we each had had a session with all the kids. In the break-outs we discussed our focused aspects in relationship to a play the kids had read, a one-act entitled, The Pied Piper of Hamelin, by Thomas W. Olson. Obviously I discussed where they could put in music and sound effects, and what type of each could be used. We talked about whether they should use organic (live) sound effects or whether it could be canned (pre-recorded); we discussed how they might record it if they needed to.

I talked about how the audience will hear the sound as what we tell them it is. I used an example of the monkey that jumps on top of the car at the end of David Lindsay-Abaire's Kimberly Akimbo. To record that, I put two quarters on top of an old steel microwave oven I owned, then stuck a mic close and tapped on the top with my fingers. When the sound cue was played, one of the characters remarks that there's a monkey on the roof of the car; so, the audience hears a monkey on the roof of a car. As I told the kids, the audience members don't think to themselves, Hey! That's really two quarters bounding on top of an old steel microwave because some guy is tapping his fingers on that top!. The kids got it. I mean, they are kids, the power of imagination is not lost on them, whatsoever.

The kids got it all. They were right there with us. they were engaged and thoughtful and ripe for ideas and ideals. I was impressed. Their enthusiasm made for a good morning for all us old people who came in to share a little bit of our experience and "expertise."

Thanks to Michael Welly, educator at St. Helen's and long-time Guild audience member, for inviting us in!


A GUEST AT THE HEARTBREAK HOUSE:
Heartbreak House & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Had a brief production meeting with Director Patrick Hayes last night, to get his idea on what he wants for music and sound. Now I know which general direction to take, and I am off on the journey.


STILL INSIDE OF MULLINGAR:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
Pre-production is moving along, if not at the quicker rate it will have as the summer moves on. We have some tentative plans for production meetings and how we will deal with the Irish dialect, etc. I'm still working to get the booth crew solidified. No word yet from Shanley or his agent about clearance to use dialogue in the promocast DV movie, but I hadn't expected to have received any word, at this point.

Note the new graphic icon for Mullingar, freshly redone by myself for here, now that DTG's graphic designer, Wendi Michael has finished and distributed the 15/16 artwork to the various Guild folk who need it, including me -- though my Guild needs for the show graphics are the promocasts, the lobby movies and the digital marquee.



Fri, May 15, 2015

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Image of B.B.King's iconic guitar, "Lucille"
B.B. King
September 16, 1925-May 14, 2015
Until these last several months, B.B. was still working so much that he wracked up more than 150 gigs per year, many years close to, or more than, 200 -- in his late 80's. That itinerary alone is an inspiration. And then, his life and his music and his heavy, heavy influence on more than just one generation of guitarists, across several genres.

You had a good life Mr. King, and you wrenched every drop out of it. Congratulations and rest in peace, good sir.



Mon, May 18, 2015

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AUDITION ICON
PROFESSIONAL GIG ICON On Set icon

I got a tip yesterday about a casting call for the male lead in a short SAG/AFTRA movie that is shooting in just a few weeks. I've been in contact with the producers and I haven't heard back but I believe I will be auditioning this coming Wednesday.


WORK AROUND THE HOUSE:
Heartbreak House & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON

Yesterday (Sunday) it dawned on me that Tech Sunday is next Sunday. Though I've taken action toward the sound design for the show, it's been "hunting and gathering" sound rather than any actual "designing," i.e.: editing or programming. Though, isn't it true that conception is part of the design? Can't it be successfully argued that concept is, in fact, the meat of the design?

As for not as yet actually getting to the construction of the design, fortunately, as I may have written before, this is not a sound-effect heavy show, and I have a good idea what Director Patrick Hayes wants, both in sound effects and in music. So this should not be too taxing; I don't anticipate stressing out as Tech Sunday approaches.

As I wrote above, after my meeting with Patrick I went about bringing together the music for pre-show, the opening and closing of acts, and the two intermissions -- yes, two intermissions: it's an older play by an Irish playwright; what'd'ya expect, a ninety-minute one act?

I'm waiting on the arrival some specific stuff, but it will be here by mid week, at the latest. No worries. I would like to have run some of the sound effects during this week of rehearsals, but that likely is not going to happen, both because I doubt I have in the shape it needs to be and I may not be able to make it in to the theatre much, anyway.


In the audience - Not in the audience animated gif icon

Well, Saturday night I did get to see Grease at Dayton Playhouse, but I am afraid I was not able to get to Shrek: the Musical at Playhouse South.

Kudos to the cast and crew of Grease for a fun night.

I'm still hoping I can make The Addams Family at La Comedia Dinner Theatre and Outside Mullingar at Ensemble Theatre Cincinnati.


Long shot of K.L. at a picnic table in a park, eating lunch
On a Personal Note icon

Okay, here was the itinerary I'd set for myself for yesterday:

    • Laundry in the morning, lots of laundry, all morning
    • Work on Heartbreak House sound while doing laundry
    • Attend a brass ensemble concert a friend performed in
    • More work on Heartbreak House sound
    • Possible work on something else related to DTG

The "Laundry in the morning" was to start at or around 9 am, which meant I needed to be up by at least 8. I set alarms, 7:00, 7:30, 8:00, 8:15, 8:30, 8:45, 9:00. It was about 11:30 when I rolled out of bed, and I'm okay with that.

The gods of spontaneity then arrived and convinced me I should take lunch in a park. I dropped by the local IGA grocery store, bought a two-piece (two breasts) chicken dinner with mashed potatoes and green beans, added three potato wedges, with a small tub of sour cream from home, and a small serving of ice cream, then I headed off to John Bryan State Park and lunched.

I ate a little more than I should have, so when I got home it was time for a lets-have-a-laid-back-Sunday-afternoon nap, then did my laundry for a couple hours and during that got at least some of the pre-construction work done on the Heartbreak House sound, while doing that laundry. I had a lot of laundry to do and I only got halfway through it.

Then, a little more work on sound and a little other work for The Guild, then bed.

Not sure why I felt this merited an entry, but, there ya go.

xxxx
xxxx
xxxx


Wed, May 20, 2015

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AUDITION ICON
PROFESSIONAL GIG ICON
On Stage icon
This morning, I made my appointment for The Human Race Theatre Company's 2015/2016 General Auditions. This year I have elected to not audition with a song. My appointment for the generals is Sunday morning, May 31. Now all I have to do is decide what monologues I am doing. Actually I'll probably do the option of "one two-minute monologue tailored toward the specific show [I am] interested in."

On Set icon
Meanwhile, after work today, I have the audition for the SAG/AFTRA short. It will actually be on campus at the rent-payer, just about a short thee-minute walk away from my desk to the room where it will happen. If cast, I will be playing a salesman, so the beard I had been sporting, until last night, had to go. I also wore dress pants and a dress shirt to work today -- not often my attire here; and I brought a dress jacket and tie. Gotta dress for the role, ya know.

xxxx
Yesterday afternoon
xxxx
Last night
xxxx
Later last night



STILL WORKING AROUND THE HOUSE:
Heartbreak House & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Yep, I'm still working around the Heartbreak house, but it's been a little slow. I am awaiting the arrival, through a cool library loan network known as OhioLink, for an important piece of music; that particular item should arrive soon, perhaps later today. The major sound effects build will happen this Saturday, followed by my sound tests in the theatre space that evening.

I am, in fact, highly likely to do my frequent ritual of spending the night at the theatre; Tech Sunday is, of course, the next day. However, we have a dry tech scheduled for 2:00 pm Sunday, and I really, most likely, will not need to be there until noon at the very earliest.

But, you never know. I am not sure when I'll be actually programming the sound plot into Show Cue Systems, so I might be up until the WEEEEEE hours of the morning, and maybe I will just rather not drive all the way home to just wake up and drive right back.

I probably will not make it to the rehearsal tonight, but I am committed to be there tomorrow evening, when all of Act III will be run, and that is the act with the preponderance of sound effects. I am also committed to Friday's rehearsal as they will do a stumble-through of the full show. As a designer I need to see the show performed as this cast and crew will perform it to better help me collaborate in telling the story. Also, as promocast director/producer, I need to see a couple runs before I shoot the footage so I know what to expect and can tag some moments I want to capture.

DTG Promocast Production logo
On the subject of the promocast, since this coming Monday is Memorial Day, rehearsals will be dark. I will have to shoot the footage of a dress rehearsal Tuesday, then edit the movie to final cut on Wednesday.



Thu, May 21, 2015

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fb post - &quote;I think, just about now (4:57 pm), at The Ed Sullivan theatre in New York City, a master is just about to lay down his sword and leave the arena for the last time. -- posted 4:57 pm, Wednesday, May 20, 2015"



AUDITION ICON
PROFESSIONAL GIG ICON On Set icon

Yesterday afternoon, after work, I met with the director of the SAG/AFTRA short, and auditioned for the lead role. It seemed to go all right. I gave him a few readings at his direction, the last one video recorded with his iPhone for his producers. We chatted a bit in an informal interview and that was that. I feel good about it, though I have no clue what my chances are.

Something I appreciate is that when he sent me the sides on Monday, he said there was no need to have the lines memorized, which as both an actor and someone who has done some narrative directing and plans to do more, I think this is the much wiser tact to take. I think directors and producers who want the actors to be off-book (or off-script, if you will) for an audition are in error, and are, for the most part, getting weaker audition from their talent than they could.

I remember having a talk a few years ago with a auteur about this and he argued, and I believe quite successfully, that unless an auditioning actor has had his or her sides for long enough, more than a day or so, then the audition will be hindered by the actor's stumble-through on the lines. This director said he wants to hear what an actor can do with the character; his take is it's better for the actor to be familiar with the sides but have them there to refer to as often as possible so that the anxiety and struggle of the early time off-book doesn't interfere with showing the character.

Of course, I've read and seen video of various casting directors who remind of the importance of looking up frequently so the casting folk can see our eyes, in the room or on the screentest. But few of them say to be off-book. Most say exactly what our auteur said, be familiar, but the keep the sides with you, relax, and worry more about showing the character than a word-perfect delivery.

The next time I direct, whether it's a narrative movie or, finally, a stage production, this will be my approach -- then and afterward.



MEMORIAL DAY 2015

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Silhouette of one tombstone cross on a hill, with Robert Frost's poem, "A Soldier," and the words, "In Momory of our Fallen."



"Diary of Artful Things"

COMING SOON!

Very probably tomorrow, updates on:

AUDITION ICON
Heartbreak House & Dayton Theatre Guild combined logo.
In the audience icon

...probably more...


Tue, May 26, 2015

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fb post -  Anne Meara was a comedy goddess. A queen of the deadpan reaction. And though not ignored for her skill, underrated all the same. RIP, and my heart goes out to Jerry & Ben. 



On Set icon
YaY!
fb post - "So, I just got that follow-up from an audition that one wants to get. SMILEY FACE "

I DID get cast in the short-subject narrative movie I auditioned for last week. It turns out that it is not a SAG/AFTRA film, but rather a student film being shot by students in the Wright State University Motion Picture program. The SAG/AFTRA notice in the original casting call was simply there to attract actors in the union, since they would be eligible to participate. Well, it doesn't dishearten me that it's not union; after all, I'm not union, and I would have gone the Taft/Hartly Act route, had it been.

Principal photography is mornings till about noon -- but probably later -- Friday, June 5 and the next day, with the rain date/pickups that Sunday. Yesterday I had a meeting with the director that was more an orientation, but with some rehearsal, but not really much. No other cast was present. This Saturday afternoon we have a rehearsal on location with myself and the other key principal actor, actually a young actress, somewhere around 8-10 years old. Then we have a full cast rehearsal next Thursday, late afternoon to earl evening, will full cast, on location, again.

Nice to see a movie director who is rehearsing, that often does not happen, save for a possible, and often hurried, rehearsal just before shooting the scene; and those don't always happen.


INTO TECH WEEK:
Heartbreak House & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Tech Week began with Tech Sunday over the weekend. I finally was able to sit for a full run of the show last Friday, to watch as both sound designer and to inform me for the promocast DV movie shoot. Saturday evening, into the wee hours of Sunday morning was my sound build. Yes, I did, once again, (for you five who may remember), do my frequent ritual of spending the night at the theatre.

Sunday we did a quasi-dry tech, which was really just me running through the music and sound effects for Director Patrick Hayes. The we did a cue-to-cue, then did the first tech run of the show.

And Tech Week continues......

DTG Promocast Production logo
The shoot for the promocast will be Wednesday night. At first it was to be Monday night; then I got the idea, through miscommunication, that there was no rehearsal Monday, so I moved it to Tuesday; then I discovered I was wrong, so I moved it back to Monday. THEN we ran into a situation of the sound technician not being confirmed, and none on deck for Tech Sunday, so I would rather be in the booth that sound person's first tech rehearsal, which was Monday; then I decided it would be good to still be in the booth while the sound tech takes the helm for the first time, tonight. Plus, the DTG house photographer, Craig Roberts, will be taking the production archive photos tonight, and I want to both avoid us getting in each other's way and not pick up his camera clicks on my audio.

So, I shoot tomorrow night and edit during the day Thursday, even though that's cutting it razor-close to having a published final cut before opening. To speed things along, I have done as much pre-production on the DV movie as possible, editing into the Final Cut Pro X project as much as possible, so I have less to deal with on Thursday when I add in the rehearsal footage.

*I'll post a few pics, later in the week.


AUDITION ICON
PROFESSIONAL GIG ICON
This coming weekend and early next week is audition-heavy.

My appointment for the The Human Race Theatre Company's 2015/2016 General Auditions is Sunday, at noon. Again, as I already indicated, I am not auditioning for musicals this year, only straight plays. I still have not decided if I am doing two one-minute monologues or one two-minute monologue. That needs to be a choice I make soon, as in today. I've been looking though the repertoire I have collected; one seems a safe standby: I know it well and it works well for me; I can't remember if either Kevin Moore or Tara Lail have heard it before; I suppose it doesn't matter, but I prefer to do fresh audition material for any given auditor.

FOR THE LOVE OF THE CRAFT ICON
Over the course of three evenings, this coming Sunday, Monday, and Tuesday I will audition for FutureFest 2015. I suppose I am, more-or-less, focusing on a particular role, but not really. It's a specially scheduled audition because the director, that Saul Caplan fellow, is in rehearsals for Inherit the Wind, at the Yellow Springs Theatre Company (which does not seem to have a website), and can't be at the Monday/Tuesday auditions; so his show is the Sunday evening audition. It's a one-hander (one actor on stage), and all the men interested will be there. But it's really more that I want to audition in an open field for all or most of the shows, more than a desire for that role -- though doing a one-man play is a goal, and I am not going to pass up the opportunity, especially since it's a staged reading, so I don't have to be off-book, just terribly familiar. It's not a bad way to initiate into a one-actor performance.

That said, that show is not my current priority; there seem to several roles in several scripts that I am typed for so this year, in a real sense, I am throwing spaghetti against the wall. Though I have no doubt as I am sitting in auditions I'll start prioritizing which roles I want to land.


In the audience icon
This past Saturday afternoon I went down to the Ensemble Theatre Cincinnati (aka: ETC) to see their mounting of Outside Mullingar with Jennifer Joplin, the Cincy actor whose work at HRTC I have always enjoyed, along with her father Joneal Joplin, Brian Isaac Phillips and Dale Hodges. It was an excellent production, all the way around. Also, as producer for our upcoming mounting, as well as the sound designer, I came away with a few thoughts:
  1. there will be some tears shed
  2. rain and thunder can (should) be a sort of underscoring for the show
  3. as producer, I saw a few set pieces that we need to be sure we include
  4. in conjunction with #3, I need to troll for a properties designer



Fri, May 29, 2015

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Opening Today

HEARTBREAK HOUSE by George Bernard Shaw, at The Dayton Theatre Guild.

Click here to see the promocast.



Wed, June 3, 2015

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SCREEN TIME ON THE VERGE:
On Set icon

As previously indicated, last Saturday I was on location to rehearse for the shoot this coming weekend of the student film, The Tooth Man Cometh, written and directed by Mitch Centers from the Wright State University Motion Picture program. I met and worked with Mitch, as well as our DP, Joe Cook, and also with my co-star, Ella Gallagan, a talented nine-year-old who may just be smarter than me.

I'm not saying she is smarter than me, for certain, but it is not outside the realm of possibility.

Principal Photography is, of course, this Friday, Saturday and Sunday. This is an outdoor shoot and the weather threatens to be a problem. The schedule has been revised, which is not uncommon, with my call tomorrow at 11:00 am, but earlier on Saturday (9:45). The rehearsal originally planned for tomorrow night has been scrapped. Hey, gives me more line study time.

As we get closer, the prospect of rain happening during this totally exterior shoot seems to be growing. The pickup days could possibly be next Saturday, the 13th, or the following Saturday; either one sees me with commitments, the 20th be the harder commitment. But, I am getting the cart before the horse, there, aren't I? I have let the production team know about the conflicts, though, so they can plan accordingly if they need to.

xxxx
SOP: my trusty flash cards, hand-written on 3x5 index cards.
Speaking of lines, I wasn't completely off-book (or "off-script") at the Saturday rehearsal, I was pretty familiar with the script, but I'd had pretty busy week so I had more than a few "I don't know my line" moments. With my agenda for the time between getting the script and Saturday's rehearsals it would have been pretty difficult to have the script down pat. But, now, things have been freer and tomorrow I will be in good shape, even considering that a slightly revised script arrived in my email last Sunday evening.


AUDITION ICON

PROFESSIONAL GIG ICON
Sunday, at noon, I did the The Human Race Theatre Company's 2015/2016 General Auditions. Mostly because of the schedule I've had lately, I did not prepare anything new, as I already indicated would be the case. I used what I call "The Cockroach" monologue, from Neil Simon's Jakes Women. I told them it was one of my favorites and I wasn't sure when I had last done it there, so there was a chance at least one person in the room had heard t before. Then I did it. I suppose it went well. I didn't feel as if it went badly. So, we'll see.

FOR THE LOVE OF THE CRAFT ICON
Then these past three evenings, I've auditioned for Dayton Playhouse's FutureFest 2015, that, for any unlikely person from out of the local area who may not know, is the DPH annual new play festival, this one actually being the twenty-fifth anniversary, which would make it the twenty-sixth festival. I've gone to the last ten, and have been on stage in six of those. The last time I appeared on stage at one being in Dayton-native, California-transplant, M.J. Feely's On the Road to Kingdom Come, during FF2013.

For the uninitiated, FutureFest auditions are more like a cattle call, even more so than the usual community theatre open auditions. The exception, this year, was the auditions for the play being directed by Saul Caplan, Blue Over You, by Dan Noonan. Though they were technically "open," any actor interested needed to contact Saul to express his interest. Saul then set up an audition time Sunday evening at DPH, and only five of us showed for the audition -- can't justify calling that a "cattle call." The main reason for this special arrangement, as anyone who may have read previous entries here might know, os that Saul is himself, currently cast in Inherit the Wind, at the Yellow Springs Theatre Company, and this week was the production's Tech Week, and Saul could not be at auditions for FF on Monday and Tuesday. It worked out better, anyway, since this is a one-character show, it was somehow better for that audition to be lifted out of the cattle-call style auditions that took place the next two nights. Saul had each contender come into the theatre alone, and read one selection he had chosen and then one the actor chose to use.

Generally, though, for FutureFest, a whole group of actors, somewhere between fifteen to, some years, a couple dozen, or more, sit in the theatre as each director takes twenty or so minutes to call up actors to read from sides. There are usually at least two rounds of that, three plays per evening, each directing getting two sessions to read actors. One night will be for the three fully staged productions, the next will be for the three staged readings.

Then, after auditions are closed, the directors get together and negotiate for the actors they would prefer to cast. As one veteran FF director once put it: "The blood bath then begins."

This past Monday night were the auditions the three fully staged ones, Hail the Conquering Hero by Rich Amada, directed by Fran Pesch; The Consul, the Tramp, and America's Sweetheart, by John Morogiello, directed by Jim Lockwood; and, Smoke, by Gloria Bond Clunie, directed by Geoff Burkman. Last night were the two remaining staged readings, Book of Hours by Thomas Klocke, directed by Brennan Paulin; and Return to Goodnight, by Jared Robert Strange, directed by Debra Kent.

The directors got together after last night's auditions for their negotiations (or, bloodbath, if you go with the one take on it), tonight. I don't know yet whether I am cast in anything or not. I do know I did not get cast in Blue Over You, as Saul has already cast that role. I do know who it is, but I don't think I am at liberty at this point to divulge the name. I can tell you, that though I have no self-doubt that I could have successfully portrayed the character in that one, he who was cast is really a better fit for the role, and the outcome, not only was not a surprise, it was what I expected would be. This is one time when the suggestion of a "serious casting error" could not be thrown about with any sort of earnestness.

As for the other shows: WAITING

One of the elements of the usual FutureFest audition, you may have been able to surmise from above if you aren't someone who is familiar, already, is that it's rare to be able to come into the auditions prepared, as in having some familiarity with the scripts ahead of time. These auditions are cold read, almost always. They will be especially cold at the start of a session for a play, as the the actors reading a particular side will not even have the luxury of having heard someone else audition off that side ahead of them. Hey, I got a plum role a few years back with a stone cold read, the role of Darren in A Woman on the Cusp by Carl Williams at FF2011.

You five that have actually, for whatever reason, been following this blog may know I have been working a lot the last couple years on cold reads. In acting class with the incomparable Kay Bosse we have made this one of my key focuses for a while now. It has helped me greatly to get to the involvement and interaction with the script, as well as spontaneity toward intent. Without hesitation I can say I used to suck, suck, suck at cold reads; now I may not be brilliant, but I am much. much, much better. My progress with cold reads, I believe, has enable me to enhance my work with scripts in general, which leads to a faster intimacy with the character, the person, I need to build from that script and what I bring to the table.

However well that worked for me last Sunday-Tuesday: WAITING



ADVENTURES IN PROMOCASTING:
Heartbreak House & Dayton Theatre Guild combined logo.
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Lunch break
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My view during lunch
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The first real editing session, the one before the eventual redux to fix errors
DTG Promocast Production logo
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Shooting the promocast
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Attempt at editing the movie, outside

Of course, the promocast is finished and out there, see the previous post.

BUNGLEBLUNDERGAFFATION -- Little a bit of a problem after it was first posted Thursday. Some will know that I am the producer for the first show of the 2015/16 season, Outside Mullingar.

While I was working on pre-production for the promocast for Heartbreak I was also working a different pre-production for Outside Mullingar.

When I worked up the template for the closing credits of the Heartbreak promocast put in the performance dates for Mullingar. Naturally, I did not catch it until after the promocast was already on youtube, as well as posted on facebook and on the front cover of the DTG website.

I had already realized that I had neglected to put any segment with one particular actor in the movie. I actually had one picked out, too. Despite that I had inadvertently snubbed one cast member, I was going to leave it be.

But I knew I had to fix the wrong production dates in the credit crawl. While I was re-editing the movie, Thursday evening, to change the credits I went ahead and stuck that missing segment segment in, as well. I uploaded the corrected movie, deleted the original one, then tried to get to all the fb posts and shares and add a comment with the link to the new version, and a reference to it. I've had to do this before, re-post a fixed edit of a podcast or promocast, then have to get the word out about it.

The pictures here show the original editing process, and I post them because I haven't been posting pics here as much lately, really, that's the gist of it. Last Thursday, which I had taken off from the the rent-payer to edit, it damn nice out. I decided to edit on my little front patio. However, it was too bright for me to see the screen well enough. Ya kind of have to be able to see the screen well to edit a movie.

I travelled down the road to the local IGA, got me a two-breast fried chicken dinner, with mash potatoes and green beans, sat outside my front door for lunch, then went inside to edit a promotional movie for a theatre production. The first session, where I forgot a sequence and then put the wrong show dates in. Again, this paragraph is only here to elaborate on the pics, which are here simply because I haven't been posting pics here much lately.

Copyright © Symbol icon

An interesting subplot arose concerning this promocast. When the movie was first up on YouTube there was a monitizing commercial dropped onto the front. Those are only added when there has been a copyright infringement claim made and YouTube has placed an add to generate income for the copyright holder, in lieu of copyright royalties. It turns out that the company I purchased the ROYALTY-FREE music from had made an infringement claim. I immediately disputed it, citing the fact that I indeed have paid the license fee required to use the music. It didn't take long for the front ads to disappear. I am curious as to why the claim was made. My suspicion is that there's a robot program surfing and when it finds music the company owns, it randomly and arbitrarily files claims that must then be disputed by the legal licensees.




SIDES AVAILABLE:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

Director David Shough has made audition selections available at this Dropbox folder.

Please be sure to read the "Notes About..." document also.

Again, auditions are Monday and Tuesday, July 6 and 7.

See more detail just below the most recent blog entry -- until, of course, after July 7.



Thu, June 4, 2015

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THE TOOTH MAN COMETH TOMORROW:
On Set icon

We start shooting The Tooth Man Cometh tomorrow morning, weather permitting.

In the meantime it's: lines, lines, lines, lines, lines, lines, lines....

Not that there is some great, overbearing multitude of lines; but, still: lines, lines, lines.


FutureFest 2015 icon
PLEASE STAND BY



Copyright © Symbol icon
DTG Promocast Production logo
Heartbreak House & Dayton Theatre Guild combined logo.

Follow-up On the YouTube Copyright Infringement Claim:

As I wrote yesterday, on Thursday last, after I uploaded the Heartbreak House promocast DV movie to the Dayton Theatre Guild YouTube channel, a copyright infringement claim was leveled against it for unauthorized use of the instrumental "Piano Grovin'," which I have been using for two seasons as the closing credits music for these promo vids. Here's the thing, I had purchased a royalty-free license for its use on the web.

I have and will continue to purchase such licenses for all the music used in the promocasts, and their predecessors, the "podcasts." I buy from several on-line service companies, one being D.A.W.N., which is run by CSS Music. Actually, D.A.W.N. has been the primary service I have purchased such licensed music from, for the last several years. D.A.W.N. is where I found "Piano Grovin'" and purchased the license.

What tipped me to the infringement claim was the fact the ads had been front-loaded onto the video. On YouTube when a video starts with a commercial, that usually means a copyright holder of content in the video has filed an infringement claim with YouTube and, rather than pull the video, YouTube incorporates some cycle of ads into the video to pay royalties to the copyright holder.

Of course, as I indicated yesterday, I immediately took the steps on YouTube to dispute the claim. technically, it's still in dispute there, though the ads are not attached right now. When I saw that, yesterday, I sent an email to CSS Music, explaining the situation.

A few hours later I got a call from Mike at CSS, who confirmed that they were aware of my legit status. The claim was actually filed by a robot program run by AdRev, which is a service that administers copyright protection of on-line use of music. The robot program searches YouTube for copyright infringement of client music as a standard procedure, then, in arrangement with YouTube and advertisers, has the commercials attached to violators to generate royalties for the copyright owner. It's called "monetizing a video."

If you read my last post you will see that this particular scenario was one I postulated was highly likely. So, the problem lies in that AdRev, and other services like it that I am sure exist, do tag licensed music as not being so. Which is what happened to me.

Mike, sent me some instructions about how to "white list" the music I purchase from them so this erroneous claim won't happen again. I think I may contact the other to royalty-free music services I purchase from, Soundrangers, where I especially get a lot of sound effects, and PremiumBeat, out of Quebec. It will be an initial inquiry when I go to any other such services, as well.



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PRINCIPAL PHOTOGRAPHY FOR THE TOOTH MAN COMETH STARTS TODAY:
THE TOOTH MAN COMETH, a film by Mitch Centers icon
On Set icon
PROFESSIONAL GIG ICON

I have an 11:00 call this morning for Day 1 of Principal Photography on Mitch Centers' Wright State University Motion Picture program junior film, The Tooth Man Cometh. The project slides back into the category of professional gig because I will receive a performance fee for my work. It's not going to be a big check, but payment makes it a pro gig. It'll actually be the first actor's check I've received for months (and months).


ANOTHER FUTUREFEST, ANOTHER ROLE:
FutureFest 2015 icon

I have been cast in an FF15 play. I will be in the opening show, Hail the Conquering Hero by Rich Amada, directed by Fran Pesch.

It's a fully staged production, as the Friday evening shows always are. This is my seventh time on stage at FutureFest. As of yet, I have not been in a staged reading at FutureFest.

The cast is, as follows:

    J. Gary Thompson as Tom Azuric
    Terry Larson as Ginny Azuric
    Cydnie Hampton as Kimberly Azuric
    Cynthia Karns as Marilyn Froling
    K.L.Storer as Wally Froling
    Shawn Hooks as Bud Peel
    Kathleen Durig as Mom
    Annie Pesch as Sylvia Sanchez



MISCELLANEOUS PROMOCAST PRE-PRODUCTION STUFF:
DTG Promocast Production logo
The Columnist & Dayton Theatre Guild combined logo.
Outside Mullingar & Dayton Theatre Guild combined logo.

No reply yet from John Patrick Shanley's agent about whether I can get clearance to use dialogue in the Outside Mullingar promocast.

Yesterday I contacted Playwright David Auburn and left a message, asking him the same question about the promocast we will do for The Columnist.



Mon, June 8, 2015

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

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



THE TOOTH MAN COMETH, a film by Mitch Centers icon
On Set icon
PROFESSIONAL GIG ICON

PLEASE STAND BY


Thu, June 11, 2015

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AND THAT'S A WRAP!:
THE TOOTH MAN COMETH, a film by Mitch Centers icon
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My script on a clipboard.

This past Friday, Saturday, and Sunday, I played with a great group of WSU film school students and a good ensemble of actors. Over three days we shot Director Mitch Center's script for his short narrative film, The Tooth Man Cometh. Everyone knew their business and the crew worked as a solid team. Mitch made his day, all three days, despite the fact that the production was 100% an exterior shoot and the weather threatened to interfere greatly.

There was the threat of rain most of the weekend, especially as it drew close, last week. But it only rained for about twenty minutes, Friday afternoon, postponing the shooting of one scene, slightly. It was the partly-cloudy, sometimes overcast, sometimes sunny moments that fluctuated through Saturday and Sunday that were probably a bit more maddening for both Mitch and his DP, Joe Cook, only because it will make lighting continuity a bit of a challenge. Though with various diffusers and harsher reflectors, and in one case, electric lamps, they evened it out as much as possible to make any post-production adjustments easier.

The movie was shot with a Red Scarlet DV camera, and though not top-of-the-line for Red DV cameras, hey, it's a Red camera, so it's going to produce some nice images. Could I afford one, along with the massive amount of data storage capacity required, and a tower computer (ahem: Mac Pro) to successfully edit and render the 4K resolution, or higher, images, I would have me a Red, Scarlet or otherwise.

We shot in Stubbs Park, in Centerville, Ohio, and beyond the issue of inconsistent sunlight, there was also the problem of inconsistant background audio. There were passing cars and trucks, the occasional overhead aircraft, geese and ducks and other birds, the sounds of park goers. Sunday, there was a particular problem with a small gaggle of geese at a nearby pond. There was also the issue of a nearby homeowner who was mowing his lawn. production staff asked him if he could hold off for a while, but he was not much interested in our needs. Of course, he had no obligation to care about our situation and he exercised that prerogative.

What comes to my mind is the story, which may be apocryphal, of how when they filmed scenes of Cairo's cityscape for Raiders of the Lost Arch, the production had to pay citizens to pull their satellite TV dishes off their roofs, since the movie takes place in 1936 and such equipment would be rather conspicuos. That's not 100% compatible with the mentioned sound problem, but 100% the same principal in action, and there was a discussion about paying the guy $20 to hold off his mowing.

sound mixer Kel Lind had his work cut out for him. He had to record a lot of room tone throughout the three days. It seems at least a little possible that we actors may have to go back and do some ADR of at least some of our lines.

None of these challenges were horrific and putting them aside it was a fine experience. As I wrote above, everybody was on their game, and it was a lovely experience. Mitch Centers is a fine film director, patient and a good communicator. Joe Cook seems to know his way around a camera quite well. All the crew were on top of their duties. It was impressive. The other actors did their work like pros.

Special kudos to young Ella, who was very much on top of her work as my co-star. She was as professional as everyone else on the set, and has some serious acting chops. Like I said in my June 3 post, she may just be smarter than me.

I took about 140 pics over the weekend, I placed twenty-eight of them here. There are actually a few I would love to post but they would essentially be spoilers and I don't want to do that. I also have refrained from putting a lot of names with the pics, because, quite frankly, there were a lot of crew there and I am afraid I'll misidentify some people -- and I really do not want to do that, either. But, for the record, here is the film crew as a whole:

Mitch Centers (Director), Joe Cook (Director of Photography) Liz Yong Lowe (1st AD, co-producer, &. Production Designer), Louis Leshner (2nd AD), Jessica Barton (On-set Producer), Michaela Scholl (Script Supervisor), Kel Lind (Sound Mixer), Ethan Frederick (Boom Operator), Nick Kutskill (1st A.C.), Olga Wagner (2nd A.C.), Aubrey Keith (Stills), Sydney Waltz (Art Director), Colin Gleason (Art Assistant), Randy Miller (Gaffer), Brian Merritt (Key Grip), Jerry Ankenbauer (Grip), Leighanna Hornick (Grip), Aly Loy (Production Assistant), Leah Byrd (Production Assistant), Michael Dib (Production Assistant), Danny Kiwacka (Production Assistant), Mark Yungmann (Production Assistant), Barbara Centers (Catering).

And, the cast in full:

    K.L.Storer as Barry
    Ella Gallagan as Ena
    Nate Foster as Kane
    Jacqueline Cook as Cari

    plus, Marissa McClary and Peter Cutler (on-screen extras)

Save for the one, up to the right, of my script on a clipboard, here are the pics:

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Myself with my co-star Ella Gallagan, along with Jacqueline Cook, who plays her sister, and, finally, our director, Mitch Centers.
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Me and our fourth principal actor, Nate Foster.
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Some crew at the equipment truck.
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Craft service.
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Director of Photography Joe Cook & crew set up a shot.
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A reflector & a diffuser
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Shooting.
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Shooting.
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Jacqueline & Ella, waiting.
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Boom Op Ethan Frederick & Sound Mixer Kel Lind.
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Mitch works with Ella.
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Ella's parents, Julie & Josh Gallagan.
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Jacqueline & Ella, playing.
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Olga Wagner, whom I met when she volunteered at DTG. She sits next to the Red Scarlet.
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Setting up for a dolly shot.
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More set up for a dolly shot.
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Stills Photographer Aubrey Keith & Nick.
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Setting up a shot.
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Crane shot.
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Crane shot.
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Joe shoots Ella's running feet.
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Getting ready to shoot on a hill.
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Getting ready to shoot on a hill.
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Craft service.
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Two of the many geese who caused Sound Mixer Kel Lind some consternation on occasion.
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My street close, hanging on a tree.
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Craft service: dessert.



AND REHEARSALS BEGIN:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

I attended my first rehearsal for Hail the Conquering Hero last night. I missed the table read last Sunday as I was still on the Tooth Man set. Director Fran Pesch did a specific table read of the scenes I am in. We also spoke of my character Wally's motivation. Wally is from New Jersey, so we talked about his Jersey accent, which I will manifest for the role. So the task in front of me is memorizing Wally's lines, and in the proper dialect.



Sun, June 14, 2015
Flag Day 2015

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Happy 238th Birthday of the American Flag -- also, someone close to this site turns 50-something today



JERRSEY, NOT JOISEY:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
This past Friday was my second rehearsal. Director Fran Pesch did a rough blocking of several scenes, including most of the ones I am in. Tomorrow night, I assume we finish the rough blocking, then adjust as the rehearsals progress.

I then have three days dark from rehearsals. Time to memorize lines, and to do in a Jersey dialect. I've really barely begun either process, memorization nor acquiring the dialect. Part of today is about that. As soon as I finish writing this day's blog post, which I am doing in the laundry room, I will start the process of my flash cards, written with the necessary words spelled phonetically to prompt the vowel shifts and consonant characteristics that say, "'New Jersey." And, as I have found out, for the overwhelming population of the Garden State, it's "New Jerrsey," not "New Joisey."


Final Draft 8 icon
MOVIE PRODUCTION STUFF ICON
Last weekend, on the set of The Tooth Man Cometh has produced an itch to get back behind the camera in a manner more so than as the director/producer of DTG promocasts. I haven't been a director of actors on screen since 2009, six years. And of all that footage shoot from late 2008 into summer 2009, only Be Or Not has manifested as a finished product.

There may not be anyone reading this who read the blog back in the first few years, when I worked on two different screenplays, one for which I was more enthusiastic about. I still am so about that one, titled, Perfect Luv, and it is on a shelf but not discarded. I am thinking about going into early preproduction for a longer short narrative film. This is a rather loose idea at the moment, with a goal of either moving into principal photography in late summer 2016 or 2017. Whether it's in fourteen months or twenty-six months depends on what looks more practical as I venture in.

Perfect Luv is a strong contender, but I have another contender, too. There is a short story on The WriteGallery Creative Writing Web Site, my sleeping literary site, where this blog is parked. Several years ago, if not longer, I recognized how suitable that story is for an adaptation into a short narrative. All I have to do is contact the author and work out an option deal on the story. I'd like to give the writer a nice check, too, not just some symbolic stipend. I'd like to pay everyone, not do this as a "no pay"

I guess we'll see how much of this is that Gemini talk and much is Gemini action. Anyone want a litany of my unfinished artistic projects I occasionally flog myself for not completing?


Closing Today

HEARTBREAK HOUSE by George Bernard Shaw, at The Dayton Theatre Guild.

The Cast of Heartbreak House

in order of appearance

CHARACTER
           ACTOR
Ellie Dunn            Cassidy Rowley

Nurse Guiness            Wendi Michael

Captain Shotover            Chuck Larkowski

Lady Utterword            Lorrie Sparrow-Knapp

Hesione Hushabye            Cassandra Engber

Mazzini Dunn            John Spitler

Hector Hushabye            Jeff Sams

Alfred Mangan            Geoff Burkman

Randall Utterword            Isaac Hollister

The Burglar            Dakota Duclo

The Promocast for HEARTBREAK HOUSE

And the Dayton Theatre Guild 2014/2015 season is officially dark.



Mon, June 15, 2015

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HAPPY BIRTHDAY HARRY -- Harry Nilsson, June 15, 1941-January 15, 1994


Tue, June 16, 2015

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HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

No new blocking last night, at least not for me. Well, there was some re-blocking in scenes I am in, but we haven't made it to new scenes I am in yet, at least not on our feet.

I have three days off from rehearsal, to work on lines and that Jersey dialect. I gave the accent a shot last night at rehearsal, but it was not what I would label, "verisimilitude," by any hue of a definition. I have yet to finish creating my signature flash cards which are always a big part of my line memorization work. I should get that done tonight along with some good time put in on the drills.

I didn't look close enough at the rehearsal schedule to see that the off-book deadline was split in two, with essentially the first half of the script tagged for off-book on June 29 and the rest on July 3. However, our director, Fran Pesch, moved the first date to June 28. That's a week and half from now. I should be good. We'll see how "Jersey" the words are, though.


Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
DTG Promocast Production logo

Working on putting the production team together and some other details. Still no word from the playwright's agent about clearance to use dialogue in the promocast.

Remember that auditions are coming up July 6 & 7. See just below the blog entry field for details -- providing you are reading this before July 8, 2015, that is.


The Columnist & Dayton Theatre Guild combined logo.
DTG Promocast Production logo

Though there's no answer, yet, either way, I am currently in communication with Playwright David Auburn about clearance to use his dialogue in the promocast for our 15/16 sophomore production.

Auditions for this one, by-the-way, are Aug. 24 & 25. Again, see below, until Aug.26.



Thu, June 18, 2015

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Happy Birthday Paul - Paul McCartney



LINES, LINES, LINES:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
And lines.

Rehearsal tomorrow.

Tonight: Lines, lines, lines, and lines.



Sat, June 20, 2015

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LEARNIN' LINES AN' TŌW-ĂHKIN' JERSEY:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

As of last evening, all my blocking is finished,
                 except that it's not.
That, meaning that all the blocking is very much subject to change.

The big goal is still to get off-book and to work on the New Jersey dialect. If I've learned one thing, it's that it's best to work on both at the same time, at least for me; though, I know for a fact that other actors, many other, are the same as I. A whole lot of the rest of today will be about that, as will be a whole lot of tomorrow. As I reported earlier, off-book for the first half of the show is next Sunday, and for the rest of the show it's July 3.



Tue, June 23, 2015

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SO FAR, OFF-BOOK QUOTIENT NOT HORRIBLE:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
As any returning readers will know, the actual off-book deadlines don't start falling until Sunday, June 28, but most of us took a shot, to one extent or another, at not reading from our script while we ran Act I, last night. Nobody was able to keep our eyes off the page all the time, though we all had nice chunks where we didn't hold our scripts.

fb - "Hmm. Apparently I had bad information about rehearsal call tonight. Or everyone else is late, which I doubt."

I am not sure how, but I believed the call for rehearsal last evening was 5:00. Hey, that's what the calendar on my lap top and on my phone told me. Of course, since the two calendars are synched through iCloud they would tell the same story. So I got to sit on the bench in front of the Dayton Playhouse in the muggy late afternoon and run my Act I lines a few times. That is, it's what I did after I ate most of what was the last meal I will order from a particular Chinese restaurant, as I prefer my food to include flavor as part of the experience. Don't fret fellow thespians, I had arrived early enough with my food that I was done well before that erroneous 5:00 call, so even had I been correct I would not have been eating during rehearsal time. Even had time to run the act a couple times before I started saying to myself, Welp, where is everyone?.....Um, did I get the time wrong?.....Yeah, I must have gotten the time wrong. As one of the comments to my fb post above puts it:

"The second commandment: an actor is never on time. An actor is always early."

Tonight we run Act II, tomorrow, III, then we get a night off and Friday we run the whole show. Again, none of these are off-book designated, but we all are trying to beat the deadline. Tonight's call is late, 8:00, because there are six shows competing for rehearsal space, thus different areas of the theatre are scheduled in shifts to different shows. Some shows do a lot of rehearsing off-site. It's just the nature of a play festival; at least it is of this one. Well, I certainly have time to run Act II lines before call, don't I?



Thu, June 25, 2015

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MORE "DECENT" PRE-DEADLINE OFF-BOOK WORK:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
xxxx
Yesterday's lunch-time, flash-card fun time -- Act III. Just the cards that are loose; the ones bound by rubberbands are Act I & II.
In REHEARSAL icon

We have now officially gone through the whole show with each of us actors at various stages of using our memories to deliver lines rather than looking at our scripts. Like Monday night, Tuesday and last night each of us had our own spots where we did not have our books in our hands at all. I had those moments for sure, but certainly there were many places where I felt the need for the security of the pages at easy access. There were those lines I had to go to the script for, too, as there were such places for the other actors. Most of mine had to do with wording or syntax that is not natural to my own speech patterns. So, granted, though we weren't actually "off-book" in the literal sense this week, it is safe to say we were, and are, at least slightly ahead of the game.

We've had three nights of one act per night, tomorrow night we run the show from top to bottom. It's one more pre-off-book-deadline rehearsal to ween ourselves a little more. We have tonight off from rehearsal. Of course, for me there will be line study, but I'm also going to see a show (see below).

My lines for this show are not wholly taxing, I admit. In a few pages of something like Blackbird, I probably said more words than I do in all three acts of this one. In fact, many lines for this one I already had committed to memory just by rehearsing. It's pretty easy to remember a line like, "Hi-ya, kid." I found myself already knowing quite a few lines when I would first sit down to begin the memorization process with portions of the script. That's happened before and it is always welcomed.


CROWNS & PUPPETS:
In the audience icon

I sit in the seats for two musicals over the next several days. Tonight at the The Human Race Theatre Company I see Crowns, by Regina Taylor, Craig Marberry, and Michael Cunningham. Saturday evening it's the Lopez, Marx, and Whitty playfully irreverent satire of Sesame Street, Avenue Q, at Beavercreek Community Theatre.

Still a little sad that I am not on that AQ stage, but what-a-ya-gonna-do?



Sat, June 27, 2015

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xxxx

Dick Van Patten as Tom Bradford -- It would be hard to argue against the declaration that Eight Is Enough was schmaltzy, light fair, but it certainly was not without a large dose of charm. Van Patten's patriarchal Tom Bradford contributed heavily to that charm. A dad who was a good guy, a great moral compus, probably only barely competent at any sport but always willing to toss the ball, or whatever, when one of his kids needed practice. Yes, technically I was a young adult on the verge of my twenty-somethings when the show debuted, but still, in my youth. And I admit, I saw most, if not all, the episodes.

Patrick Macnee as John Steed -- He was the epitome of establishment cool. He could kick ass and without barely ruffling his suit, perhaps he might have to adjust his hat when the scuffle was done and brush a bit of soil off. But he would never allow his immaculate attire to be too disheveled by some thug's ruffianism. The Avengers John Steed was one of the coolest idols of my childhood. I can hear that iconic "Mrs. Peel!.....we're needed." as he called to her to endeavor in another case of espionage and intrigue.


LET THE STUMBLE-THROUGHS BEGIN:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
The rehearsal last night was closer to a true stumble-through than we've done, but it was one-hundred-percent so. None of us made it through without consulting our scripts, but we all stayed out of our scripts far more than we have before; I certainly did. Tomorrow it will be an official stumble-through for the first half of the play. It is Off-book Day for the first fifty-some pages.

Meanwhile, I would say that my work on my character, Wally Foling, is coming along. I can't say I have perfected the Jersey accent yet, but I have it close to consistently believable. I think I have the personality down. So onward on lines, on accent on on straightening the Wally quotient.


CROWNS AT THE HUMAN RACE THEATRE COMPANY:
In the audience icon

fb post - "Well, saw CROWNS at The Human Race Theatre Company. Three adjectives come to mind: Lovely, Beautiful, and Awe-inspiring! Those ladies moved me to tears just too many times. Amazing work by those wonderful women and from Alan Bomar Jones. I tip my crown to the whole cast as well as everyone on the production team that I know, Scott Stoney, Scot Woolley, Kevin Anderson, Kay Carver, Lexi Muller, Andrew Ian Adams, Jay Brunner, Scott Kimmens, Kevin Moore, and all the folks I don't know, too!"

Why re-write the same text when I can post a screen capture of my facebook post?

I was wowed Thursday eve by this great work by Regina Taylor, Craig Marberry, and Michael Cunningham. The screenshot above says it all, but once again, kudos to the fine, fine work of the cast: Jasmine Easler (current Wright State U. acting major), Joilet F. Harris, Joy Lynn Jacobs, Alan Bomar Jones, Monette McKay, Debra Walton, Torie Wiggins. And kudos to Director Scott Stoney and his creative and production teams. If you live close by and read this in time, there's a show tonight and one tomorrow, catch it if you can! Otherwise, if you ever get the opportunity to see this lovely musical, seize it.

PLEASE STAND BY
Tonight it's Avenue Q at Beavercreek Community Theatre.


Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
Though there's not much to report, there actually is some pre-production going on. I have feelers out for the booth tech crew; we have acquired our stage manager; the set design is underway and the build will be starting soon; Director David Shough, the stage manger, and myself will have a short meeting next week.

DTG Promocast Production logo
As of yet, no response on clearance to use dialogue from the script in the promocast.

And remember that auditions are coming up July 6 & 7. See just below for details, as long as you are on the front side of those dates.



Mon, June 29, 2015

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xxxx
I may not be the world's biggest Yes fan, but that doesn't mean I don't have a deep appreciation for the band's collective brilliance, masterful musicianship, and great contribution to Rock Music as well as Modern Music in general. Yes has had a profound and positive influence on not just Progressive Rock, but Rock and Roll in general, as well as, arguably, at least to some extent, on Pop Music in general.

Chris Squire was a founding member and one of the chief architects of the amazing, innovative music that Yes has given us for more than forty years. As for his bass guitar work, let's just face it, he was one of the best there has ever been. As did his band, with their unique and signature sound, Squire carved out his own niche, creating a sound and style that belongs only to Chris Squire. Others have copied him, sometimes quite well, but it's his. More important than the fact that he sculpted his own sound as a bass man is the fact that it is a most excellent sound. Rock and Roll and Modern music in general are better off because of his unique contributions.




HUMBLING STUMBLING:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

All things considered, yesterday's stumble-through of the first sixty-some pages went well. None of us were at perfection; no one escaped the need to call for lines; and, of course some of us were far closer to Off-book on the pages than others were. I was one of those who was closer, but then, I am not taxed with the number and volume of lines that others are, so I had no excuse to not be closer. That being said, we all found there were lines we thought we were getting verbatim that, in fact, we were not. There's the humbling in the stumbling.

The weekend was a little full for me but I did have time to drill the pages earmarked for off-book on Sunday. I paced on a concrete ledge by the Mad River in Huffman Dam, which was on the route from my home to the theatre, doing so with my trusty flashcards in my hands. The off-book deadline for the rest of the show, is Friday.

And now, for the inevitable, obligatory pics of me studying lines. You knew they were going to show up, eventually.

xxxx
The famous (or is that "infamous") flashcards
xxxx
Using those flashcards
xxxx
A better view of the venue where I was using said flashcards



AVENUE Q. AT BEAVERCREEK COMMUNITY THEATRE SATURDAY NIGHT:
In the audience icon

fb post - "Saw AVE Q. tonight at Beavercreek Community Theatre. Great show! Congrats to Shawnelizabeth Storms, David McKibben, John Falkenbach, Damon Barnett, Shaunn Baker, and all those who I can't tag here! There's a show at 3:00 Sunday June 28. If you make it.........."

As I have declared in the past, such language from me is a "response," not a "review." I ain't tryin' to be no critic.


DTG SERVICE & OUTREACH:
Dayton Theatre Guild
WELCOME, BRIGHTER CONNECTIONS THEATRE!!

For the third summer in a row, The Dayton Theatre Guild has shared our space with Brighter Connections Theatre, a "theatre program that [adapts] to the needs of students...with Autism Spectrum Disorders." The 2015 performances were this past weekend. I was the board member on site this past Saturday. I didn't see all of the Saturday show, but I did see snippets. This is a great venture and I am proud that our theatre is helping to facilitate this.

*The website linked to the organization's name is a little out of date, but the info about the mission, etc., is still good.



Tue, June 30, 2015

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STUMBLING ONWARD:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
Last night was actually not an off-book night; we picked up just after the point in the play where we are currently required to be off-book. However, I went off-book last night, anyway, because, as I intimated in the post yesterday, I have few enough lines that I ought to be giving total off-book a try before those actors charged with far more words to memorize than I. I did relatively well, too.

We have tonight and tomorrow off, so I have some good time to do more line work. I have other things to attend to, but I can still make lots of room for drilling the lines in better.

Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
There's a short and sweet production meeting tonight.

Other than that, remember that auditions are coming up July 6 & 7. See details just below the latest blog entry, if you are reading this before July 8.




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