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

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Fri, July 3, 2015

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






Friday, July 3: Observation of U.S. Independence Day, the Fourth of July
off work today for the holiday







OFF-BOOK IS OFFICIAL TONIGHT:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

Last night was the final night we were allowed to have the scripts in our hand. We all tried hard to not carry them. A few of us did keep the books at bay, and the others them sparingly, at least in terms of the amount of lines they had. I wouldn't suggest that my lines were delivered perfectly verbatim as written, but I did quite well and I only called for line once. Again, to keep this from seeming too big a boast, I'm not exactly challenged with a hefty number nor volume of lines. Of course, tonight we are forbidden scripts on stage, from this point forward. We are now at the official wholly "off-book" place on the rehearsal journey.

And since I am off work today for the holiday, I have some good opportunity today to drill myself as close to 100% off-book as possible. And despite the fact that I just awoke and it's already noon, and despite that a legion of others are off work and will be at the parks, I'm thinking I'll be pacing around in the local forestry. It is overcast, but there's only a reported 10% chance of rain.

If I do make the nature trek there will likely be some of those obligatory associated pics.



The FOURTH of JULY

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JULY-SEP, 2017



239 years ago today

IN CONGRESS, July 4, 1776.

The unanimous Declaration of the thirteen United States of America,

When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.

--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,

--That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.

--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

    He has refused his Assent to Laws, the most wholesome and necessary for the public good.

    He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.

    He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.

    He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.

    He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.

    He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.

    He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.

    He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.

    He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.

    He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.

    He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.

    He has affected to render the Military independent of and superior to the Civil power.

    He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:

    For Quartering large bodies of armed troops among us:

    For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:

    For cutting off our Trade with all parts of the world:

    For imposing Taxes on us without our Consent:

    For depriving us in many cases, of the benefits of Trial by Jury:

    For transporting us beyond Seas to be tried for pretended offences

    For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:

    For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:

    For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.

    He has abdicated Government here, by declaring us out of his Protection and waging War against us.

    He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.

    He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.

    He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.

    He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.

In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.

Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably i nterrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.

We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.

The 56 signatures on the Declaration appear in the positions indicated:

Column 1
Georgia:
     Button Gwinnett
     Lyman Hall
     George Walton
      Column 2
North Carolina:
     William Hooper
     Joseph Hewes
     John Penn
South Carolina:
     Edward Rutledge
     Thomas Heyward, Jr.
     Thomas Lynch, Jr.
     Arthur Middleton
      Column 3
Massachusetts:
     John Hancock
Maryland:
     Samuel Chase
     William Paca
     Thomas Stone
     Charles Carroll of Carrollton
Virginia:
     George Wythe
     Richard Henry Lee
     Thomas Jefferson
     Benjamin Harrison
     Thomas Nelson, Jr.
     Francis Lightfoot Lee
     Carter Braxton

Column 4
Pennsylvania:
     Robert Morris
     Benjamin Rush
     Benjamin Franklin
     John Morton
     George Clymer
     James Smith
     George Taylor
     James Wilson
     George Ross
Delaware:
     Caesar Rodney
     George Read
     Thomas McKean
      Column 5
New York:
     William Floyd
     Philip Livingston
     Francis Lewis
     Lewis Morris
New Jersey:
     Richard Stockton
     John Witherspoon
     Francis Hopkinson
     John Hart
     Abraham Clark
      Column 6
New Hampshire:
     Josiah Bartlett
     William Whipple
Massachusetts:
     Samuel Adams
     John Adams
     Robert Treat Paine
     Elbridge Gerry
Rhode Island:
     Stephen Hopkins
     William Ellery
Connecticut:
     Roger Sherman
     Samuel Huntington
     William Williams
     Oliver Wolcott
New Hampshire:
     Matthew Thornton




LAST NIGHT'S 100%, FULL-ON, OFF-BOOK STUMBLE-THROUGH:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
The rehearsal last night consisted of two firsts. As I've been reporting, the books are no longer allowed in our hands, as of last night, so it was a full off-book stumble-through. It was also the first time we've been able to run the whole show, all three acts.

To quote one of my castmates, about halfway through Act III, while we waited in the wings for our cue to enter back onto stage, "This isn't the worst stumble-though I've been in." Certainly, some lines were called for. I had to twice. We have two more rehearsals to call for them, but it probably only means one time through the whole play since we don't get to run the whole show either time. As of Wednesday, we are on our own. If we go up, we are on our own to recover.



Thu, July 9, 2015

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EIGHT DAYS AWAY!:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

Last night was that first, excruciating night when we could not call for lines; and people went up; and people stumbled over words; and people paraphrased; and at times like this..... off-book is HELL.

I didn't go all the way up, but I did stumble over words and I did paraphrase. In fact, every place I stumbled and paraphrased were places I have been verbatim on, until last night that is. Though there is one word, "buddhas," that my mind just doesn't seem to wrap around. There's been a word or phrase in every play I've done that has wanted to elude my memory banks.

Tonight I have the night off. I'll spend some of it as Outside Mullingar's producer, but mostly, I'll drill my lines, few as there are -- I did stumble over words and paraphrase.


AUDITIONS ARE OVER AND THE SHOW IS CAST:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

The Cast of Outside Mullingar:

CHARACTER
           ACTOR
Anthony Reilly            Mike Beerbower

Rosemary Muldoon            Teresa Connair

Tony Reilly            Dave Nickel

Aoife* Muldoon
*PRONOUNCED: EÉ-FUH
           Connie Fowler Strait

So there you have it. The first cast of the 2015/2016 Dayton Theatre Guild season: two actors familiar with our boards, Teresa and Dave, and two new to them, Mike and Connie -- though Mike has worked back stage at DTG; Connie, as I understand it, is new to the area, and this may be her first local production (*I'll check on that).

There's a meet-and-greet with some of the cast tonight that I can attend since I have the night off from Hail the Conquering Hero rehearsal. I'll take care of some producer business with those in attendance and make arrangements to deal the rest of the cast. I also am still on the hunt for my booth techs, both sound and lighting.

Copyright © Symbol icon
DTG Promocast Production logo
When I was there this past Monday and Tuesday, I didn't check the outside mail slot at the theatre or my own mail box in the office, so I can't be completely sure, but, as far as I know, I have not received clearance to use dialogue in the promocast. This "communication," which is not truly the proper word, is essentially one-sided. I found John Patrick Shanley's agent information, which did not include a phone number or email address, but only a postal address. So I drafted a focused version of the clearance agreement I have created for use when needed, and sent it with a cover letter to the agent. Whether or not I get any response, whatsoever, is an unknown variable.

SOUND DESIGNING ICON
Shortly after FutureFest closes I will begin in earnest on the sound design. Although, in reality and in the crediting, I will be a co-designer, as I will be working in collaboration with David's own sound design elements.


FORESTRY AND A RIVER:
etectera

On Sunday of this past holiday weekend, I took the short trek from my home to John Bryan State Park, as I am want to do, to work on my line drilling for Hail the Conquering Hero. If you happened to have read last Friday's entry you may remember I said I would likely do that, though it didn't happen on the Fourth, but rather the next day. And though I have none of those threatened, annoying pics of me working with my flash cards, I did take some photos of my environment. Might as well share an almost random selection of those:

xxxx
My path into the forest canopy from the main picnic grounds at JB.
xxxx
The Little Miami River
xxxx
A path by the river
xxxx
A spider I came across that was crossing the path. It actually stopped and turned toward me as I moved my camera close in for the shot. I want to think it was posing, but, of course, it was just probably on alert because this giant thing was moving in on it.
xxxx
The Little Miami River
xxxx
I love this tree!
xxxx
The Little Miami River
xxxx
The Little Miami River
xxxx
After I took this shot, I got closer and almost got a shot of a water frog but it zipped into the river too quickly.
xxxx
One of my favorite spots on the world. I am sure I have posted pics of this before with similar text. A good portion of that novel of mine was written here, especially at dawn on Saturdays and Sundays.
xxxx
Some fattish guy, sitting in the woods.
xxxx
The nearby village of Yellow Springs, after I had left the forestry. I happened to see that particular resident of the village, that Mr. Dave Chapelle. Sorry, I took no pics, 'cause that really ain't cool. Didn't bother him, either. I had my thirty seconds with him a few years ago.



Mon, July 13, 2015

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TWO STRONG PRESENCES ABSENT
xxxx
This past Friday contained the loss of two actors with the sorts of screen presences I covet, Omar Sharif and Roger Rees. I also understand, from a few acquaintances who saw him on stage, that Rees was equally as compelling on the boards.

Sharif already had a successful movie carrer in his native Egypt when he made his weighty debute as an international screen actor in the epic Lawrence of Arabia, and appeared in many movies since, including opposite Barbra Streisand in her movie debute, Funny Girl. However, it is Doctor Zhivago that first comes to my mind whenever I hear "Omar Sharif"; that and the card game Bridge. Sharif was a top-ranked contract bridge player and even wrote a syndicated column on the game for The Chicago Tribune which I used to occasionally read. I wasn't interested in the game and did not comprehend what I was reading -- I just thought it was cool that an international movie star wrote a newspaper column about Bridge; it somehow added to his cosmopolitan mystique. That mystique that emanated from him on screen was the thing, wasn't it? To me it seems possible that "The Most Interesting Man In The World" is a protégé of Omar Sarif's, at least in term of that sophisticated, stylish aura.

Rees gained his first strong notoriety as an actor in the highly-acclaimed Royal Shakespeare Company production of The Life and Adventures of Nicholas Nickelby in the 1980's, which garnered him both an Olivier Award, in Great Britain, and a Tony Award, in the U.S., when the production moved to Broadway. He was further nominated for an Emmy Award for the television incarnation of the play. I remember him best for a specific three of his many featured guest appearances on television series: first as the dashing Robin Colcord on Cheers, then as the dashing Lord John Marbury on The West Wing, and lastly, as the dashing, but malevolent, James MacPherson on SyFy's Warehouse 13. "Dashing": a friend said Saturday that Rees was one of those who can easily be the dictionary illustration of the word. It wasn't a part of his skill-set as much as it was a part of his essence, his personification. But, beyond that, it was always much fun to watch his performances. My strongest memory of him on screen will always be Lord Marbury's ornery dig at Leo McGarry by purposefully calling for him by the wrong name: "GerALD!"

May they both rest in peace




THE FINAL STRETCH:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
Friday evening was our one and only tech rehearsal, one without a cue-to-cue. We don't run again with sound or light cues until this Thursday, which is our one and only dress rehearsal. Hey, that's the FutureFest experience, or, part of it.

This Friday is the performance. We have four rehearsals left. Tonight and tomorrow we are off-site, using space we have been loaned by Westminster Presbyterian Church, in Downtown Dayton. Wednesday, as mentioned, is our "Final Dress," and that's in quotes because "Final" is rendered irrelevant as it is the only dress rehearsal, and it is our last timer on stage before the solo performance of the show in front of the FF2015 audience. Might I add that Wednesday is only our fifth rehearsal on the actual stage, as well as being our last? Again, such is the FutureFest experience. The plan is to at least do a line through.

As for my personal battle toward being verbatim with my lines, I flubbed a few Friday, and yesterday really flubbed a few. Biggest error I made yesterday was using an entry line from Act II:scene 2 in Act III:scene 2. I also had another line in that last scene that I badly tripped over.

The character is fine; the Jersey dialect is fine; it's the perfecting off-book6 that is the current name of the game.


PRE-PRODUCTION UNDERWAY:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

Rehearsals have begun. The crew assembly is underway.

Copyright © Symbol icon
DTG Promocast Production logo
Still do not have the clearance to use dialogue in the promocast. But there still is time.


THE 2015/2016 DAYTON THEATRE SEASON OPPORTUNITY FOR LOCAL DIRECTORS TO NOT MAKE THE ALL-TOO-FREQUENT CASTING ERROR OF PASSING OVER SUCH A FINE, TALENTED (and humble) ACTOR AS MYSELF:
AUDITION ICON

Last season I was a bit up-in-the-air, especially at the start of the season, about what I might audition for, save for Next to Normal and Avenue Q., both at Beavercreek Community Theatre. Well, too, I guess it was a given that I'd do the Generals at HRTC, even before their season line-up was out (and technically that was for 15/16). Since I'm not really associated with a talent agency right now, and wasn't all of last season, there was only one screentest for a professional gig. Though, I did end up cast in The Tooth Man Cometh, but that was off a tip.

I have a firmer idea about what I want to audition for this year. There are several at The Guild, in fact, I ended up auditioning for Outside Mullingar but David missed his opportunity (as described in the header). I'll probably audition for The Columnist. Since I can carry a tune I have been requested to audition for All Is Calm -- along with every other local male actor who can sing. Certainly I'll audition for Slowgirl; I brought the play in.

Since John Adams in 1776 is one of my bucket list roles, there's little chance I won't be going after him at The Dayton Playhouse. Meanwhile, Springfield StageWorks has not yet announced their 15/16 season. I'm sure about the other Dayton Playhouse shows -- (except for probably Futurefest 2016), nor Beavercreek Community Theatre this season, nor the other local choices. I may add to my list, though. I'm going to try to be a little more in the loop about local indy movie projects, too. Probably ought to get myself back associated with a talent agency, as well.



Wed, July 15, 2015

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"FINAL" DRESS TONIGHT:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
In REHEARSAL icon

To repeat from a previous blog entry, this is our ONLY dress rehearsal, as opposed to our "final" dress rehearsal.

Of course, (for those of you who may have been following along), last night and Monday we used space generously provided by the Westminster Presbyterian Church to rehearse. Monday was the night of brain freezes for much of the cast: lots of line flubs, which is not uncommon during the final stretch of rehearsals. I had a few. Last night went very well. None of us could claim to be verbatim with the script but some of us were very close. I was with at least one spot where I got it wrong. I was supposed to say, "The red guys," but said, "The guys in red," instead. Knew it was wrong as the words crossed over my lips, too.

The good thing is that our characters all are alive on stage. As Director Fran Pesch put it: there really is some good ensemble work going on.

Tonight all the elements are put together, with some special tech cues being rehearsed for the first time. Our curtain isn't scheduled until 8:00, and we may get a late start as there are some dry tech that needs to happen before we begin. Plus, there's a bit of physical set-up for the tech aspects. It's gonna be a late night, I suspect.

Then there's that line through tomorrow and we're all on our own from that point onward. I will be into the flash cards more than a little before the performance on Friday, I can guarantee.



Thu, July 16, 2015

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LAST NIGHT'S DRESS:
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
In REHEARSAL icon
So, last night was that one and only dress rehearsal. It went "okay," not great, but okay. The energy, at times, was a little lackluster. There were a few line flubs; I had two, both, I suppose, minor; actually there were a couple other places where I had word recall short circuits, just enough to cause little blips in the delivery of the particular lines. This makes me unhappy.

The next time we do it on stage is the ball game, the actual, one and only performance in front of a full audience. We do have the line through tonight, which is clearly a good thing.



Fri, July 17, 2015

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Opening Today

FutureFest 2015 at The dayton Playhouse.

Showing Today

HAIL THE CONQUERING HERO by Rich Amada, at The Dayton Playhouse FutureFest 2015.


Sat, July 18, 2015

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ANNNNNND IT'S KICKED OFF!!:
FutureFest 2015 icon
HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon

We cast and crew of Hail the Conquering Hero initiated the FutureFest 2015 weekend last night. I don't have time just yet to give a detailed accounting of our performance, but I will say that we pulled it off successfully. I'll get back with more, maybe on Monday, maybe later.

Today starts off with Book of Hours, by Thomas Klocke, directed by Brennan Paulin (who played Rod in the recent Avenue Q. at Beavercreek Community Theatre). The cast is made up of William Scarborough, Joe Meyer, Richard Young, Amy Taint, Chuck Larkowski, and Matthew Smith.

This afternoon it's Return to Goodnight, by Jared Robert Strange, directed by Debra Kent, and featuring Cheryl Mellen and Rick Flynn.

Today closes with The Consul, the Tramp, and America's Sweetheart by John Morogiello, directed by Jim Lockwood, with the cast being Maggie Carroll, David Hallowren, Debra Strauss, and Matthew Lindsay.

I'm not at all sure there will be an accounting of today posted tomorrow. Again, Monday, or later, is far more likely.



Sun, July 19, 2015

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Closing Tiday

FutureFest 2015 at The dayton Playhouse.

FOUR DOWN, TWO TO GO:

Yesterday was a full day, with the same ol' song: details when there's time.

This morning it's the one-hander, Blue Over You, by Dan Noonan, directed by Saul Caplan and featuring Robb Willoughby.

The festival's closer is Smoke, by Gloria Bond Clunie, directed by Geoff Burkman, and featuring Megan Cooper, Ray Geiger, Dodie Lockwood, and Mike Rousculp.

"Details when there's time......"



Mon, July 20, 2015

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FutureFest 2015 icon
PLEASE STAND BY

Lots to write. Some photographs to process. So.....

PLEASE STAND BY


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

Now that FutureFest has wrapped, I can move on to earnest work on the show. The producing work is on-going but I will be able to give it more time and energy. And it's time now to start getting the sound design on the deck.



Thu, July 23, 2015

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FutureFest 2015 at The dayton Playhouse.

FutureFest 2015 icon
FutureFest 2015 is wrapped. I saw some great work, by playwrights, directors, designers, crew and fellow actors. I felt good about my own work as Wally in Rich Amada's, Hail the Conquering Hero, and was flattered by some lovely complements.

And kudos to my castmates in the show, J. Gary Thompson, Terry Bowers Larson, Cydnie Hampton, Cynthia Karns, Shawn Hooks, Kathleen Durig, and Annie Pesch -- likewise to our director, Fran Pesch.

It was great to see Adjudicator Peter Filichia, in person again, after his five year absence from the festival, though we didn't get a lot of time together over the weekend. Also good to see Helen Sneed, though again, we didn't connect much. Nice to meet the adjudicators new to the festival, Eric Peterson, Janna Robbins, and Ashley Rodbro.

It was also great fun to hangout with the playwrights: our Hail the Conquering Hero playwright, Rich Amada; Jared Strange (Return to Goodnight), John Morogiello (The Consul, the Tramp, and America's Sweetheart), which was the winning entry; Dan Noonan (Blue Over You); and Gloria Bond Clunie (Smoke). It was also nice to meet and have a few talks with our sixth playwright, Thomas Klocke (Book of Hours, who is successfully, but slowly, recovering from a serious back injury, so could not get out and about to hang and socialize easily.

Also great to mix with most of these folk and many FF patrons at the traditional, annual post-festival Ice Cream Social at Saul Caplan's home.

HAIL THE CONQUERING HERO, by Rich Amada, at FutureFest 2015 - icon
 
As for Hail the Conquering Hero, yes, I believe the solo performance of the show went well. Ours was, of course, the festival opening, and one of three fully-staged performance. According to others in the cast, some lines were dropped or garbled by others, but I don't know the details, nor would I report them if I did, and none were deadly to the scene or the performance. I had two BUNGLEBLUNDERGAFFATION moments.... well, two that I am aware of.

One of my goofs was terribly minor, the other, reasonably minor. I did a slight paraphrase of a line in Act III. Instead of saying, "In fact, I was telling...," I said something like, "You know, I was telling...," or something close to that.

Shortly after that, I made a false entrance back onto stage. Wally (I) was taken into the off-stage kitchen by Ginny (Terry Larson). A few minutes later, the phone rings and Ginny yells from off stage that she'll get it. A few moments later she is to come on stage, alone, to tell her husband, Tom (J. Gary Thompson), that his agent is on the phone. Then she exits. A few minutes later Ginny rushes back on stage, with Wally in tow, with some important news. While in the wings with Terry, I was thinking about a line I have later that was always giving me problems. I saw Terry head back on stage and thought it was her second stage entrance rather than the first, so I followed her on. When she stopped short and said, "It's your agent," I realized, Oh, shit! Thus is the wrong one! So, Wally just casually stopped, turned around and went back off. I don't think the audience was any the wiser that it was a flub. At least I stayed in character and didn't telegraph the error to the audience. I made a false entrance once in another show and jumped in an "oh shit!" sort of a manner that most definitely telegraphed the gaffe.

The BUNGLEBLUNDERGAFFATION moments aside, all of them, mine and others, it went well enough that Playwright Rich Amada was pleased. So, there ya go. Now, for me, it's on to other theatre stuff -- mostly for DTG -- with an eye on the start of next summer when FF2016 auditions come about.

Hail the Conquering Hero
by Rich Amada

(Friday, July 17 - 8:00 PM)

Directed by Fran Pesch

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

 
Book of Hours
by Thomas Klocke

(Saturday, July 18 - 10:00 AM)

Directed by Brennan Paulin

William Scarborough as Zak (Isaac)

Joe Meyer as Fugitive Green

Richard Young as Illuminator

Amy Taint as Angel

Chuck Larkowski as International Style

Matthew Smith as Izzie (Ishmael)

 
Return to Goodnight
by Jared Robert Strange

(Saturday, July 18 - 3:00 PM)

Directed by Debra Kent

Cheryl Mellen as Irene Deckard

Rick Flynn as Casper Kelly

FUTUREFEST 2015
WINNER

* * * * * * * * * *
The Consul, the Tramp, and America's Sweetheart
by John Morogiello

(Saturday, July 18 - 8:00 PM)

Directed by Jim Lockwood

Maggie Carroll as Miss Hollombe

David Hallowren as Georg Gyssling

Debra Strauss as Mary Pickford

Matthew Lindsay as Charles Chaplin

 
Blue Over You
by Dan Noonan

(Sunday, July 19 - 10:00 AM)

Directed by Saul Caplan

Robb Willoughby as Francis

 
Smoke
by Gloria Bond Clunie

(Sunday, July 19 - 3:00 PM)

Directed by Geoff Burkman

Megan Cooper as Ora Rakestraw

Ray Geiger as Wallace Johnson

Dodie Lockwood as "Mama" Liz Sommerville

Mike Rousculp as Sheriff Orville Hayes

Adjudicators
Peter Filichia; Eric Peterson; Janna Robbins; Ashley Rodbro; Helen Sneed.

Production Staff
Brian Morgan (Stage Manager); Chris Newman (Scenic Design); Marissa Childress (Lighting Design); Bob Kovach & J. Gary Thompson (Sound Design); Richard Brock (Light Board Operator); Phil Wiedenheft (Recording Engineer/Sound Board Operator); Cathleen Carroll (Costumer); Bob Kovach (Technical Consultant); Jim Garvey (Program); Rick Flynn (Photographer); Chris Newman, John Beck, Tina McPhearson (Set Construction).

And now, some photos from the weekend....

xxxx
The cast & director of Hail the Conquering Hero.
back row: Annie Pesch, J. Gary Thompson, Terry Larson, Shawn Hooks, & Kathleen Durig.
seated: Cynthia Karns, K.L.Storer, Cydnie Hampton, & Director Fran Pesch.
xxxx
I said I felt good about my own work, as Wally, in Hail the Conquering Hero, and was flattered by some lovely complements; one of those flattering complements was from the playwright.
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My weekend pass badge. Same seat as the last few years.
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Wall mount for our show.
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Rich Amada, author of Hail the Conquering Hero.
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FutureFest 2015 winning playwright, John Morogiello (The Consul, the Tramp, and America's Sweetheart)
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The traditional Saturday lunch at Marion's Piazza, with FF locals and playwright Jared Robert Strange *in black.
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Playwright Dan Noonan, John Morogiello's wife Besty, & John at Marion's Piazza.
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Playwright Gloria Bond Clunie, in the forefront, with others at Marion's.
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Starting second from the left, Adjudicators Ashley Rodbro, Eric Peterson, Janna Robbins, & others at Marion's.
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Playwright Thomas Klocke, at the end of the table in black, and Adjudicator Peter Filichia, on the right in black, with others at Marion's.
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Ms. Bond Clunie talks with Annie Pesch in the lobby of the Dayton Playhouse.
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Outside the playhouse before one of the shows.
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Outside the playhouse before one of the shows, with Chuck Larkowski, who appeared in Book of Hours, and others.
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Outside the playhouse before one of the shows.
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Rick Flynn, the male lead in Return to Goodnight, in black, with FF2015 Set Designer Chris Newman, in the hat and in red, & Terry Larson, from my show, the down right corner of the frame, with others outside before a show.
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In the playhouse lobby.
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DPH's Kelli Locker in the playhouse lobby.
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Roger Watson, whom I appeared with in my first FF show, Fake, Jim Gordon (which was also directed by Fran Pesch). Beside him is his wife, Chris Watson, who once was the business manager at my the rent-payer.
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Playwright Thomas Klocke speaks with a FF patron in the playhouse lobby.
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Outside the playhouse before one of the shows.
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FF2015 audience.
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FF2015 audience.
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The adjudication of the winning play, John Morogiello's The Consul, the Tramp, and America's Sweetheart.
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The last adjudication, Smoke by Gloria Bond Clunie.
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The Morogiellos, post win.
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Dodie Lockwood (from Smoke), Mike Rousculp (also from Smoke), Adjudicator Helen Sneed, & Ray Geiger (again, from Smoke).
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Playwright Jared, Consul, Tramp... Director Jim Lockwood, Playwright Dan, David Hallowren (from Consul...), in black turned from the camera.
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Cydnie Hampton from Hail the Conquering Hero.
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The Illustrious Tay Caplan along with Chuck Larkowski and others at the traditional post festival ice cream social at "Chez Caplan", aka the home of Saul and Tay.
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Still at the ice cream social with Book of Hours director, Brennan Paulin, Megan Cooper from Smoke, & Ms. Sarah Caplan, who is always at FF and often on or back stage at FF.
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My director, Fran Pesch (down left corner), my playwright, Rich Amada (black shirt), Blue Over You director Saul Caplan, with his arm around Return to Goodnight's Cheryl Mellen, at the ice cream social.
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Ms. Bond Clunie, Mr. Noonan, & Mr. Amada, with others at the ice cream social.
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Dan Noonan & Jared Robert Strange at the after party in the roof restaurant at the Crowne Plaza.
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Jared & Rich at the after party.
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Hail's J. Gary Thompson at the after party.
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Hail's Cydnie Hampton & Cynthia Karns at the after party.
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Cydnie & Cynthia, again.
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The Smoke adjudication.
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The after party at the Crowne Plaza with Cheryl Mellen in the forefront.
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Some goof in the forefront, with Ms. Bond Clunie, Hail's Terry Larson, and Fran, at the after party.



Wed, July 29, 2015

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Outside Mullingar & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Tuesday I had a brief production meeting with Director David Shough about the ambient sound needs of the show. We are co-designing, he choosing the music, I adding the sound effects and doing the actual overall programming into SCS.

This should be straight-forward. I haven't looked into my library of sound effects, but I am 99% sure I will not have to go looking for any, unless what I have isn't precisely right for the effect we need. That happens sometimes.

Other times I can manipulate a sound file I already have, play with the speed, or pitch, or frequency bands, to get the desired audio effect; but there are occasions where it simply takes a new file; then it's off to Sound Rangers (always my first visit) or another on-line sound effects store in search of the right file for the job.

DTG Producer icon
Rehearsals and preproduction seem to be moving along. There are some ducks to get in a row in terms of a few props and set pieces, and some other concerns that are being addressed, but all in all, the production is in good shape.

Copyright © Symbol icon
DTG Promocast Production logo
In terms of clearance from the John Patrick Shanley camp to use dialogue from the play in the promocast; that has not happened, yet. There is, of course, still time, but I am on the verge of becoming skeptical.


PRODUCING SOME WORK FOR OUR DTG 7OTH:
Dayton Theatre Guild 70th Anniversary logo
Dayton Theatre Guild
VIDEO PRODUCTION STUFF ICON

fb post -- So I'm working on a movie made up of a large collection of still photos and scans of art work, etc. After several hours of work over the last few days, I scrapped what I'd done and started over. Such is the production game, sometimes.  You may know that The Guild will celebrate our 70th anniversary as a theatre company the last Saturday in August, the 29th. The festivities begin shortly after the curtain of the afternoon performance of Outside Mullingar. Well, I'm on the ad hoc planning committee for the event and am charged with editing a couple movies to run on the lobby TV during the event. One will be the DV movie of the spring 2014 illumination of the digital marquee. Peter Wine and I shot multi-cam footage and I have yet to sit down and edit that out. It's one of several Guild-related DV movie projects that demand present attention.

Another is the DV movie referred to in the fb post above. We are trying to gather as many photos of productions, actors, and Guild people from over the years to put together a slide-show like DV movie. There are also scans of programs, flyers and other miscellaneous documents of interest that will be in the mix. I actually don't have all the material yet. I had started editing together what I do have, between what has been scanned by others (photos, etc) and some pic I have myself -- and all woefully incomplete to represent seven decades. At five seconds per image, for what I have, the movie was up to about thirty minutes. So I went in and cut all the assembly I had done, then parred down greatly from what I was contributing. I was, in some cases, using four to six images from one production. Now it's one for most, two if there's some amazing second pic to use. Mostly I'm going for the group cast/crew photos when I have them.

And let's not forget I have the Mullingar promocast to shoot, edit and get out there, due a week before the two 70th anniversary movies. Oh, and some sound design.

I also will have the two movies about our transition from Salem Ave. to Wayne Ave. as part of the lobby display at the 70th: Going Dark and Curtains Up.


In The Gym

All Right, All RIGHT! (Let's see who gets the reference)

Broken record; back in the gym after months away; that is all.



Fri, July 31, 2015

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PREPRODUCTION PERADVENTURE      ?  :
Final Draft 8 icon
MOVIE PRODUCTION STUFF ICON
For the five or so of you who regularly follow this blog -- and I'm likely flattering myself with that estimate -- I'm still feeling that "itch to get back behind the camera in a manner more so than as the director/producer of DTG promocasts" that I reported on in June, in June on my birthday, as a matter of fact. My screenplay, Perfect Luv, which has been in draft for several years now, is still a contender, though, still, as I wrote in June, there is a short story at The WriteGallery Creative Writing Web Site that I am contemplating optioning from the author, as is at least one other idea I have for a new screenplay from myself.

As before, I am not sure whether I would look at a late-summer 2016 or late-summer 2017 goal for principal photography, but I do know that I'd like to have some sort of a decent budget for this one -- "decent" for a low-budget, non-union independent. The Chorus for Candice had a budget of around $900, if I remember correctly; when I first thought about the budget for Perfect Luv I was in the ballpark of maybe $20,000 to $30,0000. I may not go quite that lofty as my goal, more so because I have a great insecurity about raising such finances than for any other reason. But I'd really like to be able to pay the cast and crew, as I wrote in that earlier post. More so, I'd like to pay something decent to everyone, perhaps not SAG/AFTRA-type money, but more than token paychecks. So, I guess I'm hoping to pay the higher end of "low pay movie," in whatever ballpark that ends up being.

I suppose what I need to do is sit down and start plotting out a budget. Of course, it'll have to be a rough one. Until I pick the script, a lot of projected production costs will be unknown. Not only that, but many ideas about potential preproduction needs, such as locations, wardrobe, etc., are going to be equally unknown. One thing that is not under debate: I will not be shooting it with my little consumer HD camera. It's nice enough for shooting the promocasts, but I need something better, whether it be a high-end camera that I rent, perhaps buy -- I have been thinking about it -- or the DP brings in; because, yes, I am most certainly bringing in a DP for whatever project ends up in production; I just am not proficient enough at shooting. Whatever goes into production, there's going to be a lot of preproduction to demand my time along with whatever I am doing as an actor and as a DTG person. And:

I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress

'VIGNETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him.
Postproduction Peradventure-? -- Once again, there's that damned improv movie project from 2008/2009 still looming on the shelf, waiting for me to take it into postproduction. It just promises to be such a daunting task to edit together all the sequences, (the vignettes), into something even comparable to a cohesive story. Equally daunting is the color correction that the project needs; if that is not successful then it will need to go black & white like the excerpt from the project, the short, Be Or Not. I really would like to avoid that. I hate to admit it but as much as I dislike Final Cut Pro X, I do believe it has a strong color temperature matching function, which no doubt will be greatly useful to this project.

As an aside, Gino Pasi, one of the actors who appears in two of the vignettes, just wrapped principal photography on a short he wrote and directed, entitled The Archivist. One of the actors in that made her Guild stage debute last season. Shyra Thomas was in Good People and also, as her IMDB page, linked here, shows, she makes an appearance in the forthcoming Don Cheadle feature, Miles Ahead. Gino works at the same rent-payer as I, and recently had an article written about The Archivist for a campus on-line publication: "Photo effect: Image from Dunbar Library archives inspires Wright State's Gino Pasi to make a movie."



Mon, Aug 3, 2015

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Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
Set Construction
I spent some of yesterday helping with the construction of the Mullingar set. As I have intimated before, though probably quite a while ago, probably several years ago, I am more of a Tim Taylor when it comes to set-work carpentry than I would be an Al Borland, but I am getting better.

Copyright © Symbol icon
DTG Promocast Production logo
Still nothing from the John Patrick Shanley camp about clearance to use dialogue from the play in the promocast; I am closer to that verge of being skeptical about receiving a "yes."

Meanwhile, producer duties are coming along.



Wed, Aug 5, 2015

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In the audience - Not in the audience animated gif icon
fb post - Main post - "Got my ticket. Actually got two, a mid-level priced one because I didn't read the invite close-enough to see the perks of the premium. So I bought a premium and now hope Ticket center Stage will refund the other. If not, I will have a decent seat available when the house gets full.....so maybe stay tuned. S'what I get for not paying attention"; In comment section - "And, Ticket Center Stage was kind enough to refund that errant first ticket, so: sigh of relief."

In the audience icon
Earlier today I got my ticket for the Lewis Black Oct 11 appearance at the Victoria Theatre, which is part of Black's Fall 2015 The Rant is Due: Part Deux (because the fun has just begun) Tour, and the event is also a fund raiser for The Human Race Theatre Company.

As you can see from the screenshot of my facebook post from today, I had a little ticket-buying snafu; fortunately, Ticket Center Stage was willing to work with me, cancel the mid-level ticket, and give me a %100 refund. That doesn't always happen with ticket venders.

To elaborate some on the story, I bought a pretty decent seat, about eight or so rows back in the center orchestra section -- really not a bad seat, at all. It was a $65 seat ($70 after the fee). Very close by were seats at the next tier of pricing: $150. Looking at the seating chart the $85 jump made no sense, so I opted for that $65 ticket. Then, after I had finalized my transaction, I happened across the on-line market notice I had read earlier in the day and saw text I had not noticed before:

***VIP exclusive for true Lewis Black fans***
Get center seats close to the stage, AND meet Lewis in person at the private post-show party at The Loft Theatre lobby (next door from Victoria Theatre).
At least one of you five may remember that I met Mr. Black back last September when he came to a performance of Miracle on South Division Street at The Loft to support cast member Lauren Ashley Carter who had previously appeared in a play he wrote, One Slight Hitch, which, by the way, The Human Race is mounting this coming April. It was a ten-second encounter, long enough for me to shake his hand and say, "Mr. Black, I love your work." So, I don't think there's much chance of him recalling me when we meet again after the October show.

Eighty-five bucks, more. just to meet the guy in a less random situation. Yeah, I'm an easy mark.

Not in the audience icon
Break a leg icon
Unfortunately, I will not be in the audience at The Loft this Friday evening to see Robb Willoughby's new play, Have You Ever Played, Dayton?, as it is mounted as the first offering of the HRTC Festival Of New Works this weekend. I waited just a little too long to try and purchase a ticket; the show was sold out already. As I told Robb in a text: Yay for him! Boo for me! But I wish for him to seriously Break A Leg!!!

Before the Lewis Black show, I will be in the audience at The Schuster for a performance of the tour of The Book of Mormon. I see the Sunday matinée on August 23. That was a steep ticket price, too: all totalled, $137.

I don't like crappy seats.

In the audience icon



Fri, Aug 7, 2015

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THE HOME STRETCH IS JUST AROUND THE BEND:
Outside Mullingar & Dayton Theatre Guild combined logo.

This time next week we will be going into Tech Week, with a dry tech scheduled for Saturday, then cue-to-cue and Tech Run on Tech Sunday, into the tech/dress rehearsal, ending with Final Dress. Then, two weeks from tonight, the show opens.

DTG Producer icon
I've spent the week on some producer duties, gathering together all the material for the program playbill being in the forefront, that which today I sent off to our graphic designer, Wendi Michael, who does the design and layout of the programs. Of course, there's also been the keeping tabs on expenditures and justifying them against the budget. It's clearly time to be sure all the prop and set piece needs will be met, too.

SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Tonight I am likely to get the majority of the sound design programmed into the SCS (Sound Cue Systems) software. The music won't be placed tonight, as Director David Shough has not yet provided it, but the sound effects will be placed in the queue. I doubt I have to go out and get any sound files; I'm pretty sure I have what I need in my library. If I do go out, as I wrote earlier, it will be because I don't have exactly what will give the needed effect. Of course, everything, as always, will be subject to tweaking, later. Since I will build the sound program at home, I will need to crate a new sound device driver *(a file that assigns channels to speakers) after I have transferred the cue file to the computer in the booth. That will allow me to have four channels and isolate sounds to particular speakers. At home tonight it'll just be a standard stereo sound configuration -- and that's okay for the build stage.

Set Construction
There's a good chance I'll help with set construction tomorrow afternoon. I may actually be in early to transfer the SCS cue file for the show and do all, or at least some, of the work I mention above. Then, with the exception of a break to buy some sound cable for a separate DTG project, I'm pretty much guaranteed to have a drill, or a paint brush (or both), or whatever, in my hand for at least a few hours tomorrow.


A THEATRE AWARDS WEEKEND:
GENERAL THEATRE STUFF ICON

Daytonys - Dayton theatre Hall of Fame
Tomorrow evening, I will attend the 2015 Dayton Theatre Hall of Fame & Daytony Awards, which will induct local professional director, actor and theatre educator, Joe Deer, into the Hall of Fame as well as celebrating the Dayton area's 2014/2015 theatre season.

Dayton theatre Guild Murphy Awards
Sunday afternoon it will be The Guild's Annual Smorgasbord and Murphy Awards; the Murphies being our in-house theatre awards.


WILLOUGHBY PLAYS DAYTON:
Break a leg icon

Want to send out good vibes to Robb Willoughby, whose new play Have You Ever Played, Dayton? kicks off The Human Race Theatre Company's Festival Of New Works tonight.

Really wish I hadn't waited too long to get a ticket!       sad icon



Sun, Aug 9, 2015

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Fuck it. Just fuck it. It'd be nice if I were suicidal. Unfortunately, I'm not. It'd be easier.






Sat, Aug 15, 2015

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Dayton theatre Guild Murphy Awards Daytonys - Dayton theatre Hall of Fame GENERAL THEATRE STUFF ICON
Congratulations to all the production people and actors who won a 2014/2015 Murphy Award at the Dayton Theatre Guild and to all those who won a Daytony Award from the community-wide Daytony organization. And kudos to Joe Deer for his induction into the Dayton Theatre Hall of Fame.

For that matter, congrats to everyone who won an in-house theatre award at any of the other individual theatre companies in the area.



Mon, Aug 17, 2015

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TECH WEEK UNDERWAY:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon
As planned, we began Tech Week Saturday with a dry tech. Sunday was cue-to-cue with the actors. Tonight begins the tech/dress rehearsal, though costumes are not required tonight, so actually it's only a "tech" rehearsal.

Of course, Opening Night is this Friday.

SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Naturally, except for tweaks, the sound design is finished. I dropped into the theatre Friday evening and migrated what I had programed remotely onto the booth pc, then finished out the programming. To some extent during, then to a larger extent after, the dry tech on Saturday, I adjusted quite a bit. After cue-to-cue on Sunday I adjusted more. I have no doubt I will tweak more during tech week and perhaps after the run opens.

DTG Promocast Production logo
Copyright © Symbol icon
No clearance has come through to use the dialogue in the promocast and since I shoot tomorrow night and edit on Wednesday, the plan is to do the DV movie as a VO.

BUNGLEBLUNDERGAFFATION
Enter the story of recording the audio commentary of Director David Shough's VO for the movie:

    TASCAM DP-03 8 TRACK DIGITAL PORTASTUDIO RECORDER ICON
  1. Recorded it Sunday after the cue-to-cue. At least I thought I recorded it. Somehow it didn't seem to take. I am sure it was human error; I'm just not sure what error I made.
  2. Recorded it again. This time I checked to make sure it was recorded by doing a play back. Then I lost it and I am 99.5% sure I know why and how. My mind pre-occupied with other production issues and other Guild issues as well, I absentmindedly unplugged the digital recorder without turning it off first. I strongly suspect that since I had not saved the second session as a titled "song" file that I wiped it out of the buffer where it sat.
  3. Third time's a charm. We did it one last time; I immediately migrated the commentary to my lap top via GarageBand to ensure "number 4" would not be a necessity.
  4. Hey! It gave David a chance to hone his commentary.




The Columnist & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Right before the Mullingar dry tech on Saturday I attended most of a production meeting for the next DTG show, The Columnist, which I am also designing sound for. Nothing but the bare beginnings of discussion about the needed design.

Note the audition info below. The auditions are a week from tonight and tomorrow night.



Thu, Aug 20, 2015

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FINAL DRESS TONIGHT; OPENING NIGHT TOMORROW:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

DTG Promocast Production logo
Copyright © Symbol icon
The promocast has met final cut and is out in the wild. Too bad I couldn't secure clearance to use dialogue in the DV movie. I had a recent discussion with someone who holds the same opinion that I use to, that using the dialogue as I do in the DV movies is probably "fair use," and though there is merit to that position, we get into a grey area when it comes to these promocasts. The purpose is solely to promote a royalty-paid official production of the play the dialogue would be extracted from, that is absolutely true, but it's still a grey area. Also, DTG is a 401c3, not for profit organization, but the use of dramatic work (stage or screen) in other media, even for the purposes of promoting the original, authorized production, is contentious. We don't have the resources for a legal battle, bottom line. Regardless of that little side trip, the DV movie is up and promoting away.

CLICK HERE for the promocast

So Tech Week is almost at a close, with Final Dress tonight. Since I wear Producer's and Co-Sound Designer's hats I have been there all week and can relay that the show is shaping up well. The actors (Mike Beerbower, Teresa Connair, Dave Nickel, & Connie Fowler Strait) are hitting their stride; the production crew (Kelly Engle, Mandy Goodwin,Ashlynn Oswald, Sarah Saunders, Wayne Wolfe, & Avery Woodruff) is perfecting its functions; the Chris Newman/David Shough set is looking good and the moving parts are working well -- come see the show to see what that means; sound is near perfect, thoug it needs some tweaks; Carol Finley's costuming is complete and looking good, too. Guess it's about time to put on a show.

PRODUCTION GREMLIN ICON
GREMLIN Crap! -- Naturally, the damned production gremlin has come out and play a little. Of course, he screwed with me a little bit Sunday with that whole two failures to record David's commentary for the promocast, but he decided to make an encore appearance last night. The bastard.

Show Cue Systems icon - http://www.showcuesystems.com/
During last night's rehearsal some sort of glitch happened to the Show Cue Systems software and it stopped sending an audio signal. It was not during a critical sound cue and was fixed by closing and reopening the program. I wasn't in the booth when the snafu occurred, I was in the house listening to sound balance, so I'm not really sure what happened, but I am going to try to recreate the circumstance before the rehearsal tonight, though I am going to be only approximating from my guess of what that exact circumstance was.

GENERAL TECHIE STUFF ICON
A technical issue peripheral to the production proper also felt the twitch of the gremlin's fingers. For about a year now, maybe a little less, The Guild has finally in place a TV monitoring system both in the lobby and in the greenroom, both receiving a feed from a camera in the booth showing the performance on stage. The lobby TV also shows a lobby movie before the curtain. Right now the booth camera is Camera C, one of my HD Canon Vixia HF R40's, those that I use to shoot the promocast. I set the camera up last night only to find the greenroom TV was no receiving the signal from the booth. After some trouble-shooting, and a suggestion that I erred in initially rejecting, I found that the "gremlin," or one of his mortal minions, had switched (reversed) two cables running into the TV. I cannot think of any reason why anyone would have a need nor an occasion to do that save that whoever it was is in cahoots with the gremlin -- they are also candidates for loss of their fingers and I'm contemplating purchasing some metal-cutting sheers for the sole purpose.


HRTC ACTING CLASSES:
PROFESSIONAL DEVELOPMENT ICON

The next round of acting class sessions are coming up at The Human Race Theatre Company. I'm sorry to say that Kay Bosse will no longer be at the helm, Kay is stepping out of that, in fact, she is retiring completely, which I believe includes acting on stage. I ended up doing a lot os class sessions with Kay as the teacher, as well as having the privilege of appearing on stage twice with her, the first time was my debut on a professional stage, 2011's Caroline, or Change at The Race. I will miss Kay.

The good news to compensate for the bad news is that this forthcoming class is being helmed by Jennifer Joplin, the Cincinnati actor, who is also a Human Race resident artist, whom I have seen and greatly enjoyed in several productions, including the recent Ensemble Theatre Cincinnati's production of Outside Mullingar. As I've stated here before, I like her work a lot, so there's a strong probability that I am going to take the class. It doesn't seem to technically be an "advanced" class, rather it's billed on the HRTC Adult Classes page as "Adult Acting Techniques," but I still am prone to enroll.

The classes run Mondays, Sep 21-Oct 6, from 5:30-7:30, which may pose a little bit of a conflict -- but that's an if on two counts, and even if the ifs become affirmatives, not an insurmountable conflict.


AUDITION ICON
FOR THE LOVE OF THE CRAFT ICON
I've not completely decided but I am more than likely to audition for our next DTG show, The Columnist, auditions which are this coming Monday and Tuesday. Of course, either way, I am the sound designer for the show, this time wholly so. The two ifs from above, in the acting class section, come in to play here: IF I audition and IF I am cast, the class ending at 7:30 on Mondays is that "little bit of a conflict," though the two theatres are less than a five minute drive from each other, and I am sure I would be excused early from class the Monday before, and of, tech week.



Fri, Aug 21, 2015

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Opening Today

OUTSIDE MULLINGAR by John Patrick Shanley, at The Dayton Theatre Guild.

CLICK HERE for the promocast



Sat, Aug 22, 2015

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OPENING NIGHT, LAST NIGHT:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

The Opening Night performance went exceedingly well. Of course, you five will know that I didn't really get to see the performance; I was, as usual, the Opening Night house manager. The audience though was most complementary and appreciative of the show, all the way around.

Looks like we're in for a great run.


Copyright © Symbol icon DTG Promocast Production logo The Columnist & Dayton Theatre Guild combined logo.
Good news on the promocast front for our next show, The Columnist. Yesterday I sent a follow-up email to playwright David Auburn, and he responded in the affirmative to grant clearance to use dialogue from the script in the promo DV movie.

So YaY!


      
also
      

SOUND DESIGNING ICON
I have not started working on the sound design, yet. There are other projects in line first, getting a lobby movie for the upcoming DTG 70th anniversary party, this next Saturday, being at the top of the list.


      
also
      

AUDITION ICON
'VIGNETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him.
HEART WALKS a full-length double album by K.L.Storer
I'm still up in the air about auditioning this coming Monday and Tuesday. There are always those unfinished projects on the back-burner waiting for my attention, that damned post-production on Vignettes in Bellcreek and the actual mixing of a much older project, the Heart Walks album, both at the top of that particular list.



Sun, Aug 23, 2015

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THE SOPHOMORE SHOW, LAST NIGHT:
Outside Mullingar & Dayton Theatre Guild combined logo.
DTG Producer icon

First of all, the house was simply too small last night, less than a half house and that's just not good enough. The house wasn't full Friday, but it was larger than last night.

I was again the house manager and I again missed the show, but this time it wasn't because of house duties. This show is one act with no intermission so there is no need to set up intermission refreshments. I was occupied Friday by the setup for the Opening Night Gala. Last night I was in the office working on the lobby movie for the 70th anniversary celebration next Saturday.

Just like Friday, the audience loved the show.


In the audience icon
Won't be at today's performance of Mullingar. This afternoon I am taking a trip to Uganda, like many if my theatre colleagues in Dayton already have or will today.

But only for two hours or so.

Today I see the matinée of The Book of Mormon at The Schuster.

With the exception of one person, everyone who has seen this visiting tour production has loved it. Well, hey, artistic awards are often not the ultimate benchmark of the value of a piece of art -- very often not -- but nine Tony Award wins is indicative of something good.



Mon, Aug 24, 2015

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In the audience icon
Of course, yesterday I saw the matinée of The Book of Mormon at The Schuster.

It's a cute show and I was entertained. For all its sacrilegious nature it's actually not all that edgy, otherwise, but then I think creators Trey Parker and Matt Stone did that purposefully to give the show a longer shelf life. And it certainly has a shelf life, doesn't it?

The spoofing of the Mormons and of religion, in general, all certainly is South Park-quality they-REALLY-went-there worthy, though. But the show is still ultimately "cute." No Cartmans in the show.

I liked it. I'm not in love with it as others are, but, I liked it.

So, there's my non-review response.



Tue, Aug 25, 2015

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The Columnist & Dayton Theatre Guild combined logo.
AUDITIONING QUESTION ICON
I finally read The Columnist last night. As sound designer, it was about time.

When I got up this morning I shaved my beard off. It's a good bet I will drop into a barber salon for a haircut after work. I did not audition last night, and I'm still not 100% sure I am tonight, but it's something like a 99.99999999∞% probability that I will. I seem to be on that path. There's no question in my mind the lead is a good role for me and that I am more than just a good choice for the role.



Wed, Aug 26, 2015

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The Columnist & Dayton Theatre Guild combined logo.
AUDITION ICON
DONE

I auditioned last night for The Columnist, as I said I likely would. I was happy with what I did; what else is there to say?


Paul McCartney logo -- Extreme close-up of his eyes behind his autpgraph signature
Paul McCartney Out There Tour
Ol' Macca is on the same world tour he's been on since 2013 with very few changes to the repertoire. He's just added a local location, Columbus, Ohio in October, to the tour. Since I've basically seen this same show twice already, last summer in Chicago and the summer before in Indianapolis, I am not inclined to spring for the $275 for a decent seat. However, a friend has clued me in on a contest to win two tickets for the Columbus show, via WHIO TV & Radio. The seats will be fairly close to nose-bleeders, I'm sure, but: free tickets to see a show I've basically already seen twice..... Providing I win, of course, which is a long shot.

And it would be pretty cool to hear him do a live version of "Temporary Secretary," which he's added to the show and which I unapologetically love while most everyone I know correspondingly and overwhelmingly hates.



Sat, Aug 29, 2015

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All Is Calm & Dayton Theatre Guild combined logo.
VOCAL WORK ICON
I seem to be having perpetual voice problems. My throat hasn't felt 100% "up-to-snuff" for at least a year. I got a sore throat around last November -- right before I auditioned for Next to Normal at Beavercreek Community Theatre -- and have not wholly shaken it since then. Right now it's allergy related.

The point is, as many of you already know, I have been solicited, as have any males in or close to the Dayton theatre world who can sing and act, to audition for our DTG holiday extra, All Is Calm, the Christmas Truce of 1914. That audition is really not that far away, just shy of six weeks. I need to start getting my voice in shape. I need to start daily warmup exercises. Honestly, I should be doing them as a matter of course regardless of whether there's an impending audition where I need to sing.

Occasionally I do them and then psych myself into discouragement because some exercises in particular are so rough, because I am out of practice and out of shape. My voice doesn't perform as well as it can, as it has before, and I feel defeated by that. It's nonsense which needs to be halted.

THE ACTOR PREPARES ICON
While we're at it, I ought to be frequently practicing audition monologues, which would not only help me keep a nice repertoire of such in shape in my memory banks but also would keep my actor's voice in better state, both physically and in terms of acting chops. I have often thought about also just doing cold reads as a standard practice, just opening up a play I have never read before and starting. It can't be a bad thing. My rent-payer does give me access to a fine collection of plays, classic and contemporary.


The Columnist & Dayton Theatre Guild combined logo.
The show is not completely cast, yet. Some actors are being auditioned today. The cast list announcement is being held until the cast is complete. Of course, there have been leaks but I won't put anything here until the official announcement from DTG has been made.



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DAYTON THEATRE GUILD PLATINUM ANNIVERSARY
Dayton Theatre Guild 70th Anniversary logo

The DTG Platinum Anniversary celebration, this past Saturday evening, came off successfully. It wasn't as attended as it could have been, but I think that's because we miscalculated getting the word out. I think we thought we had cast a wider communication net than we did. Oh, well. Besides, I may be wrong. But for the one-hundred or so people who were there, it was a nice event.

Former Guild board member (and past president), Greg Smith officiated the ceremony. Brief comments were given by the following people, on the following subjects:

  • "Welcome to our New Home" -- The state of the Guild -- DTG Board President, Kathy Mola.
  • "Act One: Guild Origins" -- The early history: The Dayton Art Institute & the Belmont Park Carriage House -- Fred Blumenthal, Board Member at Large
  • "he Guild Goes Postal: 2330 Salem Ave." -- The Guild moves to Salem Ave. from Belmont Park -- Carol Finley
  • "The Hunt is On" -- Finding the Dayton Gym Club Building -- John Spitler & Brian Buttrey, Board Members at Large
  • "Movin' and Shakin" -- Moving into the Wayne Ave. Building -- Carol Finley, Board Vice President of Operations
  • "The Plays the Thing" -- How the Play Reading Committee Picks the Plays for the Board's consideration -- Debra Kent, Board Vice President of Resources
  • "The Problems with Three-Quarter Thrust" -- Directing on the Guild Stage -- Saul Caplan & Greg Smith
  • "The Players" -- Acting on the Guild Stage -- Barbara Jorgensen, Board Execute & Membership Secretary; Lori Sparrow-Knapp, actress; Nabachwa Ssensalo, actress; and K.L.Storer (me), Board Member at Large
  • "From our Stage to Broadway: Micah Stock, Ben Magnuson, Adam Koch" -- Actors & Designers Who Have Moved on to Successful Professional Careers -- Carol Finley
  • "We Do it in the Dark" -- Stage Managing, Crewing & Teching at the Guild -- Melanie Brenner, Vice President of Creative Operations; Deirdre Root, Board Treasurer; and Scott Wright, Board Member at Large
  • "It Started with an Egg" -- Meeting at the Guild, then Getting Married and Starting a Family -- Natasha Randall, Board Member at Large; Craig Roberts Board Member at Large; Isabella Roberts, Honorary Board Member at Large and Natasha & Craig's little girl
  • "Our Heart and Soul" -- Volunteering at the Guild -- Lois Bigler and Garry Dowell, Guild Volunteers
  • "The Reviews are In" -- The Critics and the Guild -- Russel Florence, Jr. and Terry Morris
  • "The Guild Groupies" -- The Audience Members at the Guild -- Dr. L. David Mirkin and Dr. Alan Ross
  • "A Toast: Gold Mugs" and "Act Well Your Part; There All the Honour Lies: The Ralph Dennler Board Room" -- The Coveted Guild Mugs for Continuing Volunteers and The Newly Dedicated Board Room Named in Honor of Ralph Dennler -- Fred Blumenthal.

Here are some pictures:

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The 70th graphic, obviously.
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The birthday cake.
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Wall hanging with press and playbill from the first production, December, 1945, Outward Bound, as well as a costume and printed material from He Who Gets Slapped (1957/58 season).
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Swords from The Beaux Stratagem (1970/71 season) and a photo of Bill Morse from Da (1981/82).
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Plaque, damaged in the 1989 fire at the Salem Ave. location:
"Blessed is the person who sees the need, recognizes the responsibility, and actively becomes the answer." -- William Arthur Ward.
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Horse head from Equus (2002/03).
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Two costumes from the first production at the current Wayne Ave. venue, 2009's Les Liaisons Dangereuses.
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The Guild's oldest prop (or, set piece, to be technical):
"This late-Victorian chaise has been in the Guild's possession for around 65 years. It has appeared on stage many, many times. It was kept back-stage for cast & crew seating at both our Belmont Park and our Salem Avenue locations. It has been recovered several times for a variety of reasons."
xxxx
The plaque on the door of the newly christened Ralph Dennler Board Room.
The 2015-2016 Dayton Theatre Guild Board of Directors, with past member Greg Smith
MOST OF THE 2015/2016 DAYTON THEATRE GUILD BOARD OF DIRECTORS, (IN PRECISE ORDER FROM LEFT TO RIGHT, REGARDLESS OF ROW):
Barbara Jorgensen (Secretary & Membership Secretary), Kelly Engle (Volunteer Coordinator), Melanie Brenner (V.P., Creative Ops), Brian Buttrey (Web Manager & I.T.), Harold Fox (Member at Large), Rick Flynn (Member at Large), Craig Roberts (Grounds Keeper & Staff Photographer), John Spitler (Publicity), Natasha Randall (Sunshine: i.e. thankyou's, sympathy cards/flowers. etc.), Isabella (Craig & Natasha's little girl), Fred Blumenthal (Member at Large), Patty Smith (House Coordinator), Scott Wright (Publicity), Debra Kent (V.P., Resources), Carol Finley (V.P., Operations), Deirdre Root (Treasurer), Greg Smith *(past board member), K.L.Storer (Video Media), Jeff Sams (Building Manager), Kathy Mola (President).
Not pictured: Jon Hung (Legal), Wendi Michael (Print Media) & Debra Strauss (Daytony Rep).
Photo by Leah Sams



GOOD SECOND WEEKEND, TOO:
Outside Mullingar & Dayton Theatre Guild combined logo.

In the audience icon
Sat as an audience member Friday evening, and, no surprise, I enjoyed the show. Technically, I have already seen the whole show several times, but, "theoretically," Friday night I wasn't focused on listening to sound balance, etc., but, in reality, that was only to a slightly lesser degree.

I was preoccupied with prep for the 70th on Saturday so I know nothing about that performance except that the audience was again appreciative. Yadda yadda yadda so I didn't see the Sunday matinée, but I feel safe to say that Weekend Number Two was as good as Weekend One.


THE CAST OF THE COLUMNIST:
The Columnist & Dayton Theatre Guild combined logo.

CHARACTER
           ACTOR
Joe Alsop            David Shough

Susan Mary Alsop            Wendi Michael

Stewart Alsop            Rick Flynn

Young Abigail            Alexa Storar

Older Abigail            Jenna Gomes

Andrei            Dakota Duclo

David Halberstam            Chris Petree

Philip            Ryan Shannon



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RANDOM - whatever
& yet another new subject icon with the added bonus of being an annoying animated gif; I'd apologize but I don't want to be disingenuous.
GENERAL TECHIE STUFF ICON
One can argue that this is, after all, related to the whole "diary of artful things," but, truly only remotely. I've been having a recurring problem with DSL connectivity at home. For the last month or so there have been these spells where the DSL connection cuts out after less than a minute after each re-establishment. This has rapidly increased in frequency to the point that it is the norm. I've spent several sessions on the phone with service reps from my ISP. We tried verifying the DSL connection and pinging the signals, yadda yadda yadda yadda.

Monday I called again and told the rep, "We've already verified and pinged and checked my network configurations, and all that software sort of stuff. This is either a bad DSL hardwire connection or a bad DSL modem." The rep made a service appointment for someone from the local phone company to come out and check on the DSL line. That was for Tuesday. No phone company technician came on Tuesday. I called the phone company Wednesday morning and got pretty much this same quote several times from several different people:
I'm sorry, I can't help you with this particular problem, let me give you the number you can call for help....
After a few of those deflections it turned out I needed to go through my ISP, who had to contact the phone company to reschedule the tech call. Later Wednesday, a phone tech did check on the DSL line at the phone junction box and found that there was a strong, constant signal. My new DSL modem is on its way from my ISP. It is, however, being delivered to the rent-payer so I won't get it into my hands until Tuesday, at the earliest, since the campus is closed on Monday.

The argument that this is related is that I do need an internet connection to conduct much of the business of acting and being involved with DTG. Although I can read and send email via my phone. The biggie is that I need a good DSL connection to upload the DTG promocasts to the DTG Youtube Channel. In fact, I had to upload the Outside Mullingar promocast using the Guild's high-speed internet while at the theatre, because this home DSL problem was afoot at the time.

The truth, the bigger truth, however, is that I watch a lot of Netflix and Hulu Puls. They're the big staples of my TV watching -- that which I do too much of, I admit.

While we're on the subjects of "General Techie Stuff" & "subject icons," the icon for General Techie Stuff ought to be updated to show new equipment: nix the old SD camcorder for one of my current Canon Vixia HF R40 HD cameras; replace the outdated four channel mixing box with my Tascam DP-03 eight-channel digital recorder; swap out the mic for a newer one; use my present MacBook Pro with Retina Display; and my new headphones.

I DON'T WANNA TALK ABOUT IT!
NOPE ICON
In The Gym

Seriously, it's time, for both projects to move forward a little bit, or more than a little bit. Since I wasn't cast in The Columnist, I am not tied up by those rehearsals. The opening exists....
'VIGNETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him.
HEART WALKS a full-length double album by K.L.Storer



Sun, Sep 6, 2015

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Closing Today

OUTSIDE MULLINGAR by John Patrick Shanley, at The Dayton Theatre Guild.

The Cast of Outside Mullingar
CHARACTER
           ACTOR
Anthony Reilly            Mike Beerbower

Rosemary Muldoon            Teresa Connair

Tony Reilly            Dave Nickel

Aoife* Muldoon
*PRONOUNCED: EÉ-FUH
           Connie Fowler Strait

The Promocast for Outside Mullingar


Labor Day 2015

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Happy Labor Day 2015
LABOR DAY
BROUGHT TO YOU BY LABOR UNIONS

THOSE WHICH ALSO BROUGHT YOU: Weekends without work; All breaks at work (including your lunch breaks); Paid vacation; Family & Medical Leave Act (FMLA); Sick leave; Social Security; Minimum wage; Civil Rights Act/Title VII -- prohibits employer discrimination; Eight-hour work day; Overtime pay; Child labor laws; Occupational Safety & Health Act (OSHA); Forty-hour work week; Workers' compensation (workers' comp); Unemployment insurance; Pensions; Workplace safety standards and regulations; Employer health care insurance; Collective bargaining rights for employees; Wrongful termination laws; Age Discrimination in Employment Act of 1967 (ADEA); Whistleblower protection laws; Employee Polygraph Protection Act (EPPA) -- prohibits employers from using a lie detector test on an employee; Veteran's Employment and Training Services (VETS); Compensation increases and evaluations (i.e. raises); Sexual harassment laws; Americans With Disabilities Act (ADA); Holiday pay; Employer dental; life; and vision insurance; Privacy rights; Pregnancy and parental leave; Military leave; The right to strike; Public education for children; Equal Pay Acts of 1963 & 2011 -- requires employers pay men and women equally for the same amount of work; Laws ending sweatshops in the United States.



Today would have been my father's ninety-sixth birthday.

HAPPY BIRTHDAY DAD
My Dad, George Storer, at my college graduation, 1994
George A. Storer
1919-1995


Wed, Sep 9, 2015

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RIGHT IN MY OWN BACK DAMN YARD!!!:
On a Personal Note icon
DOH!

For the last decade or so, I have often passed the entrance to a park, on my way to the rent-payer: Oakes Quarry Park, which is on the outskirts of Fairborn, Ohio.

When I've driven past that park entrance, I've said to myself, I should check that out. Monday, Labor Day, I wanted to head to some nature spot but did not want to go to John Bryan State Park, or Glen Helen, or Clifton Gorge, or any of the the usual suspects I routinely frequent; and I did not want to travel too far. I decided it was time to visit that park on SR. 235, not much before I get to the on-ramp to I-675 South, most mornings on the way to work.

I didn't know what to expect, but I did not expect what I came across. This park takes my breath away. It is 190 acres of mostly open space with a prairie and wetlands. It is so very foreign from surrounding geography that it cannot easily be placed at its location by anyone who has not been witness to its existence.

The novice film maker in me immediately wondered what it would cost per day to lease the park for some shoots. If it's available at all it would likely not be cheap. But don't the pictures below suggest wilderness? It'd be a great location, though the 235 and 675 highways are close enough that all the audio would have to be Foley and ADR, because the road traffic sounds would be picked up. So if you want to suggest isolation, you'd have to reproduce all of your sound, including dialogue, in order to kill the highway sound.

But, I digress.

It was 1996 when I moved to my current location, which is about a ten-minute drive from this park, so my first impression was that I have been missing out on this local treasure for more than nineteen years. As it turns out, however, the land was not in possession of the City of Fairbirn until 2003, and I'm not sure when the park was opened, so it looks like I've been missing out for more like a decade. But still: a decade! Its been right in my own back damn yard for about ten years or so and I've missed it through lack of investigation.

Well, I know about it now. Following are tewnty-one of 100+ photos I took Monday:

The "Oakes Quarry Park" sign at the main entrance on SR.235, in Fairborn, Ohio
That main entrance I have been driving by most mornings for about a decade.
xxxx
My obligatory "The Path In" shot.
xxxx
Just about the moment I started thinking: Film Location
xxxx
Rock Sculpturing.
xxxx
A movie with horses and winchester rifles....
xxxx
Wetland wonderland.
xxxx
Prairie land in Southwest Ohio.
xxxx
Maybe a movie with loincloths and clubs...
xxxx
Big rocks.
xxxx
How about big men in chainmail armor, swinging swords and battle axes...?
xxxx
A postcard (as if the other pics aren't).
xxxx
Another postcard.
xxxx
Another postcard.
xxxx
Just wouldn't think this was Ohio if I didn't know better. It's mostly because I haven't seen a lot of the Ohio prairies that haven't been developed into urban landscapes.
xxxx
If you can't read it, the sign on the left says, "Walking Path Only," and points to the path up the incline toward the top right of the photo.
xxxx
More big rocks.
xxxx
So I took a path that I reasoned would get me back to my car in the main parking lot. A felled tree blocked that path, though it wasn't unsermountable to get by it and continue onward.
xxxx
Coming to end of that particular trail, my assumption was that not far beyond this gate was said parking lot, with my car. As it turns out it leads into a field of overgrowth about two miles northwest of the target parking lot.
xxxx
Wild flowers. I am clueless as to what kind.
xxxx
If you can't read it, the sign on the left says, "Horse Path Only."
xxxx
Once I had doubled back and crossed back across the prairie, I took a slightly different path than I had entered the park from, but came upon a gate that does lead to the main parking lot.



GENERAL TECHIE STUFF ICON
Okay. Well. This is it. I have bowed to the inevitable; soon I will no longer have a land phone line and will have a cable modem for the internet. The new DSL modem I just received did not solve the disconnect problem. The culprit is either the actual line, which a phone company tech reported as strong and steady in a recent line check, or it's both the phone jacks in my home. I am not going to bother to have the phone company back to check on the jacks. Frankly I have been thinking for a while about upgrading to cable internet anyway, since the fee for my bare-minimum phone service has increased by just about 100% in the last three years. Dropping that will, even with the premium increase in my bill from my ISP, put me about $16 ahead in the game, and that, after the six month introductory offer that gives me a, additional $12 break per month, to start.

If you're wondering, the last few days, while at home, I have been using the hot spot feature on my iPhone to be on-line. Of course, I streamed a few Netflix and Hulu Puls shows which ate most of my data bandwidth for the month. So I switched to off-line to watch most episodes of the one and only season of Studio 60 on the Sunset Strip, that whole season which I bought and downloaded from iTunes. I also watched DVDs from Season One of NYPD Blue and from Season One of Millennium, both courtesy of Netflix -- A Profiler DVD should be in my mailbox when I get home tonight.

I still point to the internet's involvement in my acting and other related activities as why this is a relevant post at a blog subtitled "a Diary of Artful Things."


AT THE MOVIES icon
Strictly speaking, this not about a trip to the movie theatre, it's about a movie I bought in light of the internt connectivity problem from above and from previous entries. Over the weekend, Sunday, I believe, while I was shopping for various things, including groceries, I came across a couple critically-acclaimed movies for sale on DVD at cheap, cheap prices, pretty much what I'd pay to rent downloadable versions of each.

One is Hugo, the other, The Grand Budapest Hotel. The former I watched Monday evening after my grand expedition at Oakes Quarry Park. The latter is on the agenda for soon. Hugo, I must say I enjoyed quite a bit, but, I'm not surprised. It's a Martin Scorsese film, for goodness sakes. I didn't see it in 3-D, I saw it in 2-D and it passed the crucial test for 3-D movies. If it's still interesting and has good cinematography in 2-D, it's a good movie; if it needs the 3-D to be compelling, it's a dud. This one looks good, tells a good story, and is a great ride. But, like I said: It's a Martin Scorsese film. I look forward to The Grand Budapest Hotel.


?
In the audience - Not in the audience animated gif icon
FULL MONTY Pay What You Can at the Human Race Theatre Company
The plan is to attend tonight's "Can Night" performance of The Full Monty at The Human Race Theatre Company, and for the most part that looks like a probable go.

I may have to cancel that plan if certain things materialize in my personal business. I'd like to go tonight, though. It's because of the break in cost, I won't lie to you.

It will be good to see Josh Kenney (in the role of Ethan Girard). Josh was Perchik when we did Fiddler on the Roof at The Race just less than two years ago. Well, if need be, I'll spring for a full-price ticket; seems I am in that position frequently.



Fri, Sep 11, 2015

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91101 Emblem

NOT JUST
poems and essays on
September 11, 2001







GENERAL TECHIE STUFF ICON WAITING AT THE MOVIES icon
The order is in; this coming Monday a technician comes to the abode to hook up the the high-speed internet cable modem. Theoretically the appointment is for 9:00-10:00 Monday morning; I am a skeptic on that score. I have the whole morning blocked off and will not be surprised if it's afternoon before I get to the rent-payer; I am even prepared for the possibility that I can't make it to work, at all. We are dealing with the cable company, ya know.

Meanwhile, I've been watching DVD's, and a couple BlueRays. I watched that DVD of four early episodes of the TV series, Profiler, I mentioned in a previous post. Plus I went to the public library and borrowed a few movie titles, as well as from the rent-payer: Good Night, and Good Luck, Inglorious Basterds, Insomnia, Prometheus, and The Simpsons Movie. Last night I watched The Grand Budapest Hotel, which I purchased: great movie.

I haven't watched them all yet. To be honest, I don't really know why anyone but me would care about much of this, but I wrote it -- and you're reading it, I might add.

?
HEART WALKS a full-length double album by K.L.Storer
'VIGNETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him.
Yeah, yeah, why I haven't been seizing the opportunity to work on the dusty movie project or the even more ancient musical album project, or both, is a good question. I guess: habit and not having made a clean break from being a 60's TV kid. There's an essay in this last point.



SOUND DESIGNING ICON
I have a few For-the-Love-of-the-Craft sound design gigs in the works, all at The Guild -- hint: all my sound design gigs are "for the love of the craft," at least thus far; and the majority are at The Guild.

The Columnist & Dayton Theatre Guild combined logo.
If you're one of the five who actually, regularly read this silly blog, you may know that I am designing sound for the upcoming The Columnist. I actually will start work on this one, this weekend. The big challenge in this one will be the SFX of off-stage, 1960s war protesters.

NIGHT WATCH & Dayton Theatre Guild combined logo.
Next weekend there's an early production meeting for Night Watch, which will be mounted in January. It's really a table read so the production team can hear it out loud and identify any design needs or production challenges/problems. Director Saul Caplan Usually does this for the productions he directs. At least he has for the last several to which I've been attached.

And, there'll be pizza.

All Is Calm & Dayton Theatre Guild combined logo.
In between those two is our Guild holiday extra, All Is Calm, the Christmas Truce of 1914. "Sound Designer" is not the correct term here, and I'll probably ask the producer to not bill me as such. There's probably not going to be much, if any, production sound, perhaps a few sounds of war, explosions in the distance, at the most, and maybe not even that. The task for me here really will be picking the appropriate pre-show Christmas music.


In the audience - Not in the audience animated gif icon
FULL MONTY Pay What You Can at the Human Race Theatre Company
Not in the audience icon
Wednesday, after work, I spent a couple hours taking care of some business, thus I couldn't get to The Race to get in line for "Can Night" tickets for The Full Monty. My business wasn't wrapped until late enough that I knew going to see the show was a futile notion. Instead I borrowed the DVDs mentioned above, went home and watched Samantha Waters fight crime, then Homer almost get Springfield destroyed by the EPA.

?
In the audience icon
I'll see The Full Monty before its run at HRTC is over. I may try to buy a ticket for a week night next week. And there are other productions on the horizon. There's Carousel at The Dayton Playhouse; there's Merrily We Roll Along at Beavercreek Community Theatre; there's Cyrano de Bergerac at Cincinnati Shakespeare Company, with a past stage companion of mine, Josh Katawick, now a resident artist at Cincyshakes, who will also be appearing with the incomparable Bruce Cromer (who will be Willy Loman) in October there in Death of a Salesman; then there's And Then There Were None at X*ACT; and Greetings at Brookville Community Theatre; and The Wiz at Sinclair Community College Theatre; and I am sure there are few others in the immediate presence or future and in close geography. I doubt I'll make them all, but I'm sure I'll make a few.



Mon, Sep 14, 2015

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By the Way Just so you know, I am finishing off today's blog post whilst I wait for the cable technician to arrive and hook up my new internet cable modem. I WILL be amazed if the tech shows up during the appointment time. I am, as I indicated before, a skeptic on this front. It's almost 9:15 as I get ready to FTP this post over to the server. The appointment for the tech to show between 9:00 and 10:00 this morning. We'll see.



BACK AS -- "I'M NOT A CLIENT, I JUST PLAY ONE...":
PROFESSIONAL GIG ICON
U.D. Law - University of Dayton School of Law icon

Finally, for the first time all calendar year, I booked a gig with the University of Dayton School of Law.

It's a scenario I've done before, two years ago. I'll play the owner of an upscale bakery in an affluent suburb of a large city. He has a dispute with a woman who supplies his shop with muffins; it's a breach of contract case.

There are four sessions days, first two are the interview sessions. I meet with seven teams over two days. Then two ore days, the counseling sessions, three weeks later.


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

Yesterday I was one of the readers for the Playwrighting -- Level I class at HRTC, taught by Michael London of the Ohio Playwrights Circle. I did a couple of these back in March for a level 2 version of the same class.

This time I read two different characters, each in a different play from a different budding playwright. One of those was an African American playwright (one of two in the class), and clearly my character, and my scene partner's character were both African American. The actors reading the roles not being the correct ethnicity is not an immediate obstacle in a dramatic reading, but, not the better situation. It'd be better if these playwrights could hear their characters' words coming out of the mouths of people who match the ethnicity.

Michael London has asked us all to steer him and the group toward some local black actors who might be available and I have sent the word out to those whom I know. If anyone reading this knows of a Dayton-local African American actor, shoot me an email and I'll get you in contact with the group. They have a few more sessions and would love to have the participation of such actors: KL_Storer@yahoo.com.


HRTC ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

Friday I enrolled in the forthcoming Adult Acting Techniques class series being helmed by Cincy-based, and HRTC Resident Artist, Jennifer Joplin at The Human Race Theatre Company. As I wrote recently, I have enjoyed Ms. Joplin's work several times on stage, including the recent Ensemble Theatre Cincinnati's production of Outside Mullingar. The Monday (5:30-7:30) classes start next Monday and run for the following five Mondays.

I'll have a couple slight schedule conflicts. I'll have to come to one class late, on October 5, due to the U.D. Law gig; and, I may have to leave early on Sep. 28, as that is Tech Week for The Columnist, and as a designer I will need to be there to monitor the sound, especially given that it'll probably be the sound techs first night at the con. But conflicts like this have come up before have never been a problem with the acting classes; of course, that was with Kay Bosse, but I have a strong feeling they won't be problems here, either, especially with both being gig related.

*If you are a Dayton area actor who may be interested, there still is likely time and room to get into the class. Visit: humanracetheatre.org/adultclasses.php.



Thu, Sep 24, 2015

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ANOTHER COLD DRAMATIC READING FOR PLAYWRITING CLASS:
FOR THE LOVE OF THE CRAFT ICON
Last Saturday I again was one of the readers for Michael London's Playwrighting -- Level I class at The Human Race Theatre Company.

I got to play the dirty corner of a blanket, given voice, in one work, and an artist jockeying for a sweet deal in the other.

Too bad I can't participate this Saturday. I will be at The Guild working on The Columnist sound and other Guild business.


HRTC ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON
This past Monday night was the first of six sessions of the Adult Acting Techniques class at The Human Race Theatre Company, taught by Jennifer Joplin.

The whole first class was all about theatre games and warmups. This coming Monday we'll start into some scene work, as well as taking a monologue and trying several approaches to it. I got the scene work script in an email this morning, a few pages from Reckless by Craig Lucas.

I do still have to duck out early this Monday, since it's Tech Week for The Columnist, but I am pushing it until 7:00. The Tech Run isn't until 7:30 and The Guild is less than a mile from the class.


'VIGNETTES IN BELLCREEK' logo -- D.P. Fred Boomer operating camera woth Director K.L.Storer next to him.
AT THE MOVIES icon
Last week, after a couple years of hearing, "Oh, you gotta see it!" I finally watched Joss Whedon's Much Ado About Nothing, and it was as good as all the proponents have been telling me. As an aspiring (or is that "wanna-be"?) film maker, one thing I thought was:
See! You can tell a story with the camera in a simple production and be incredibly effective.
The show features (in the order of listing at the movie's IMDb.com page): Amy Acker, Alexis Denisof, Nathan Fillion, Clark Gregg, Reed Diamond, Fran Kranz, Jillian Morgese, Sean Maher, Spencer Treat Clark, Riki Lindhome, Ashley Johnson, Emma Bates, Tom Lenk, Nick Kocher, and Brian McElhaney. These actors all gave strong performances which contributed greatly to the artistic success of the film, a factor that I am sure Whedon had counted on and which was a major ingredient in his story telling on this project.

You may say, "But, of course, the strong performances would be a vital part of the recipe." Well, let me tell you, that is not always the case. Perhaps not usually, but certainly often, the directors and producers of the infamous Hollywood "high concept" film have little interest in how compelling the actors' performances are. They re more concern with telling the "story" with the special effects and the CGI. Whether the lead character seems like an authentic human being is of no concern. It's probably not always this bad; in fact, Whedon has directed some high concept (which is a deceptive term that only actually means: big-budget action film with a lot of explosions and other visually exciting effects).

Whedon calls this film, Much Ado a home movie with expensive equipment -- I believe it was shot with two Red Scarlets. He's underplaying it a little. It's a simply-made movie, but quite a few notches above a "home movie." What it is is a simply-shot movie of lovely performances by a top-notch cast, well-directed and well-cut. What it is that is more important to me is a simply-made movie that gives me, as a truly novice film maker, a lot of hope. It goes back to that idea: You can tell a story with the camera in a simple production and be incredibly effective. I could shoot something comparable with my little, consumer-brand Canon Vixia HF R40s, even if the end product did not have the cinematic look one can get with a Red Scarlet camera.

As you five who have been here before may know, I've been nagging myself lately to get Vignettes in Bellcreek into post-production in earnest. That which I shot in several segments between mid fall 2008 and early summer 2009. Watching the Whedon film has been a double-edged sword: the Yin is that Much Ado... is a bit of inspiration to get the final cut finished and out there; the Yang, mine ain't gonna be the effective storytelling that the Whedon movie is.

Now the big problem is that I have probably run out of the time for a little while. I am likely to be about the have all my evenings and weekends occupied again.

Being the neurotic Gemini that I am, I am also thinking about a movie production project I've had in the back of my head for a long time. It's actually the reason we shot the improv movie that is now Vignettes in Bellcreek; Vignettes was a trial run, an experimentation and exploration of shooting multi-camera, to see if that method might be good for this other concept. Honestly, this particular movie project will not be embarked upon any time soon. But I am now more apt to want it to eventually become active.


SOUND DESIGNING ICON
xxxx
xxxx
I haven't posted any self-indulgent photos of me doing stuff like working on sound any time recently, so here's a couple from last Sunday afternoon as I worked on sound design for The Columnist.

As established in previous recent posts, I have a few sound design gigs (of the non-payment sort) happening. All of these are for The Guild. I was approached just last night about one for Spring at another theatre. It's too soon for me to know if I can commit.

Meanwhile, as for the ones that are a go, now:

The Columnist & Dayton Theatre Guild combined logo.
Last night I watched a run of The Columnist to get a better feel for the tones at the start and the end of scenes, and acts, for that matter. The only music I have settled on is the opening of the show (Act I). Tonight will probably be the night I do all or the major portion of music selection, based on the previous general ideas I had, now married with what I noted last night.

As I told Director Doug Lloyd in an email earlier in the week, the ambiance is going to be easy and I haven't addressed it yet because I know I have the sound files we need. I did make a not last night of some ambient sound hadn't though of.

Sunday edited together peace protesters for a scene in Act II. I used the chanting from the 1968 Democratic Convention in Chicago, "The whole world's watching, the whole world's watching....." Whether that will be a low constant or something that is gradually faded out, isn't determined yet. There's some bar music/ambience in Act I that is the same situation.

NIGHT WATCH & Dayton Theatre Guild combined logo.
Sunday evening I attended a pre-production meeting for Lucille Fletcher's Night Watch, with Saul Caplan in the director's chair. This one's going to need some sound effects that are problematic, namely, off-stage canned gun fire, and wind. Niether sound very good coming out of a speaker on a live theatre stage.

Otherwise I have a lot of ideas and a decent feel for what soundscape this one will need. I haven't come to absolute terms on what the music should be, bit I have a good ballpark idea, based on the era it will be placed in, the ensemble of characters, and the general tone of the play.

Saul has asked for some underscoring in a few spots and though I don't know exactly what music I will use, I have a strong idea what type will be used.

All Is Calm & Dayton Theatre Guild combined logo.
There's supposed to be a pre-production meeting coming up shortly for All Is Calm, but depending on exactly when it is, I may not be able to make it due to the commitment to The Columnist. Besides, as stated before, my sound contribution will be mostly or solely pre-show holiday music.


VOCAL WORK ICON
HEALTHWISE ICON
I'm starting to think about my voice, my throat, in terms of trying to remember when was the last time I can remember both of them being in great shape. I don't recall it being anytime recent. I think I've felt a little bit of a soar throat, at the very least, and maybe at least some congestion for about a year or more.

Certainly my vocal ability (as per: singing) has taken a hit in recent years, and certainly the lack of constant practice, and no consistent warmup routine, plays a big role in that. However, I am starting to be concerned that there is a health issue also involved.

There is a bit of a mold problem in my home and I am sure that plays a factor. How big I am not sure. I certainly had vocal problems during Next To Normal, but I think that was mostly just the throat and chest cold. But maybe it was more. I don't recall the same problems with Fiddler on the Roof or Caroline, Or Change. I did have a spell of throat problems during Fiddler, but that was most certainly a winter cold and only during part of the run.

AUDITION ICON
All Is Calm & Dayton Theatre Guild combined logo.
So I'm starting to ease myself into some vocal warmups and exercises.

Need to progress at some kind of good rate.

The auditions for All Is Calm are just around the corner and I have not yet aggressively worked on either my personal audition choice nor the proscribed one.


The Beatles
YaY!
Nothing to say but.....




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