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

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Fri, Apr 1, 2016

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YaY!
PROFESSIONAL GIG ICON
On Set icon

I had to keep it completely quiet until it was a done deal, but now I can make somewhat of an official announcement: I have just been cast in a featured principal role in an upcoming film adaptation of what, in a great personal happenstance, is one of my favorite novels, if not my absolute favorite novel.

At this point I am not allowed to reveal very much of anything about the production: what my role is, what the title of novel or film is, who is directing, or what actors are starring, though I have to tell you that it thrills me (and intimidates me) to be working on screen with a particular one of these actors.

I can say that I am in three scenes that will be shot in southern Indiana just a little before this coming Christmas time. Now the big question for me is, do I join SAG/AFTRA or not?      cool icon

Because you know, there are pros and cons, mostly cons, to being a Sag/AFTRA actor while still situated in Southwest Ohio.

But what a great opportunity. Pretty decent paycheck, too, though I won't be leaving my job at the rent-payer.




AN ENTRY FOR ANY OTHER DAY:
TRIP TO BOUNTIFUL & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON

I have inventoried the sound effect needs for the show as well as begun to harvest music for both production and pre-show/intermission. This afternoon, after work, I'll head to the theatre to start plotting the procedure to plug and unplug a couple practical* set pieces that need such attention during each performance -- as I wrote about in the last blog entry, on March 30. I may drop in tomorrow morning to work on this again, before my Ohio Playwrights Circle acting class gig.



Sat, Apr 2, 2016

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TRIP TO BOUNTIFUL & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
I did not go to the theatre last night, rather I stayed home and did some more music harvesting for the production, and some script notes. But this morning I am at the theatre for that plotting of the procedure to plug and unplug the practicals during performance and other miscellaneous related work.



FOR THE LOVE OF THE CRAFT ICON
Ohio Playwrights Circle
NOPE ICON

I will miss participating as a reading actor in this afternoon's session of the play writing class at The Caryl D. Philips Creativity Center, collaboratively sponsored between The Human Race Theatre Company and The Ohio Playwrights Circle, and taught by local Playwright Michael London.

With both the sound design work I need to do today for The Trip to Bountiful and leaving town for Chicago, I need the three-plus hours I'd have to give to the class. But I am 90+% probable for next week and see no problems whatsoever for the rest of the OPC schedule, including the May 7 public reading at The Guild

Remember there will be a public reading of selected works from this class at The Guild on Saturday, May 7 at 7:00 -- admission will be free.


ROADTRIP!
MARY PAGE MARLOWE by Tracy Letts at Steppenwolf.
This morning the TV was saying the weather will be on the verge of hideous when I hit Chicago Sunday morning. But weather.com says the high will be 61°, though there will be gusty winds up to 30 MPH; and that it will drop to 35° by the evening with occasional gusts of 40 MPH.

Hopefully the 40 MPH winds arrive after I have departed.

The real consideration is that I plan to drive into the city from my motel room in Northern Indiana, park in an all-day garage, walk about thrity minutes to the Lincoln Park Conservatory and check that and the park complex around it during the morning, then take about another thirty-minute walk to Itto Sushi Japanese Restaurant for lunch. Lastly, another thirty-minute walk to steppenwolf, to see the show.

Let's hope that "high of 61°" is not incorrect! I can argue that the gust winds will be good resistance for my prescribed heart walking exercise. "Glass half full," ya know.

After the show, it's Trattoria Gianni's across the street from the theatre. I've ate there last time I was at steppenwolf, and in the company of the uber-talented Lauren S. Deaton -- a Chicago transplant from the Dayton area. The meal there will assuredly max my sodium intake for the day, if not push me over, which is why today I do no sodium, and probably won't on Monday, as well.

I also have elected to drive back to the motel, spend Sunday night and head back home Monday morning.....
              .....probably later in the morning, though I do want to be sure to be back in time for my cardiac rehab.



Sun, Apr 3, 2016

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THIS AFTERNOON!

MARY PAGE MARLOWE by Tracy Letts at Steppenwolf.



Fri, Apr 15, 2016

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Opening Today

TRIP TO BOUNTIFUL by Horton Foote, at The Dayton Theatre Guild.

Click here for the promocast video



Tue, Apr 19, 2016

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CATCHING UP





ONE, TWO, THREE, FOUR, ONE TWO---:
Tax Time skull and bones ICON

Let's see how many people get the reference that is the headline for this entry.

For the second year in a row, I am sorry to say that I was not able to have "actor" as a profession nor income for my tax status. So, currently, even "semi-professional actor" is a misnomer.

However, as for my tax return for 2015:

DONE

*there's an Easter egg in this entry*



Ohio Playwrights Circle
FOR THE LOVE OF THE CRAFT ICON
Two Saturdays ago, the 9th, I had to again skip the dramatic reading of student playwright pages for the play writing class at The Caryl D. Philips Creativity Center, collaboratively sponsored between The Human Race Theatre Company and The Ohio Playwrights Circle, and taught by local Playwright Michael London. I had the final stretch of sound design work for The Trip to Bountiful to deal with. But, I was able to read this past Saturday and am likely to make the rest of the readings for this class, including the public reading at 7 pm on May 7 at The Guild.


OPENING NIGHT:
TRIP TO BOUNTIFUL & Dayton Theatre Guild combined logo.

I can't speak for the whole weekend, because I was only there on Opening Night, Friday, but that night seemed to go well. I was, as usual on Opening Night, the house manager, so I didn't attend to the performance much, but I did hear positive audience response and the cast and crew felt good about the night. So there ya go.

SOUND DESIGNING ICON
I did, on occasion pop into the theatre proper to listen to levels and dynamics for some of the sound cues. Since the theatre filled with audience members has a difference ambient dynamic than when the seats are empty the balance of the sound from the speakers can change. I was happy with what I heard, with one exception that I adjusted after the show that evening.


PRE-PRODUCTION KICKED OFF:
LAST GAS & Dayton Theatre Guild combined logo.
DTG Producer icon

Saturday we had a production meeting for the next show at The Guild, that which I am on board as producer. It went well, and I am glad to report that Bruce Brown is designing our set. Bruce, who was once a board member at The Guild, has been out of the theatre game for a little while and it's great to have him back. And his concept for the show is stellar!

We held the first round of auditions last night and auditions continue and conclude tonight at the theatre. If you read this in time, see below for the audition specs, or go to www.daytontheatreguild.org/auditions/.


TRACY AND MARY PAGE:
ROADTRIP!
MARY PAGE MARLOWE by Tracy Letts at Steppenwolf.
In the audience icon

Of course, you five will know that I headed to Chicago the first weekend of the month to see one of the preview performances of Tracy Letts' new play Mary Page Marlowe at Steppenwolf.

I spent a nice Sunday in Lincoln Park. I drove over Saturday and actually stayed in a motel in Merrillville, Indiana, then drove into Chicago Sunday morning and parked my car in a garage near steppenwolf and walked the neighborhood until it was showtime. First I trekked about thirty minutes to the Lincoln Park Conservatory, as I wrote earlier that I would. The plan was to then walk another thirty minutes to Itto Sushi Japanese Restaurant for lunch. I failed, however, to note when at the website that Itto is closed on Sundays. As the result I started walking toward the theatre and actually ate at Thai Bowl, across from Victory Gardens Biograph Theatre, where I ate last time I was in Chicago to see Death and the Maiden at that theatre. *Pictures later.

Then it was on to the show.

Mary Page Marlowe essentially is a memory play and a character study. There isn't a traditional story line, rather vignette's spanning the life of Mary Page in non-linear presentation, with connections back-and-forth between the scenes. It is well-written and superbly produced, directed and performed.

I am wondering if it will have a life beyond the steppenwolf run, however. It calls for a large cast, eighteen for the steppenwolf production, though that could be trimmed a little bit, but not much. About six to eight of those need to be women and girls to play Mary Page at different ages, spanning virtually her entire life. Not being a musical it seems an unlikely candidate for new York City, especially Broadway. My understanding is producers don't want ot hire that many actors for a straight play and would rather not hire that many for a musical. Seems regionals might even be shy about that. The need to cast so many women in the title role seems a challenge, too. Even many regionals might find it hard to pull from a pool large enough to get sufficient actresses who all look like they might be the same woman at different stages of her life. And community theatres?: the ones who care about quality will probably not want to risk not being able to meet the casting challenge. Maybe I'm wrong, but it seems like this play does not have a very viable production life ahead of it.

But that production dilemma is a commerce issue. The art of the work is solid and compelling.


      
also
      

ESTRAGON AND VLADIMIR
In the audience icon

Last Friday evening I headed to Springfield StageWorks to check out their mounting of Beckett's Waiting for Godot. It was a really nice production, directed by Larry Coressel and featuring mostly a cast of men I have worked with before: Chuck Larkowski as Vladimir, Brent Eresman as Estragon, and Garry Thompson as Pozzo, all doing fine work. But the height of the night for me, if these men will allow me to overshadow them, was the work of Katie Eresman< Brent's daughter, as Lucky, still cast as a male, by-the-way. It was her killer delivery of Lucky's one, insurmountable monologue; Katie nailed it, the speed, the range of dynamics, the precision; I was impressed.


ROADTRIP!
Paul McCartney logo -- Extreme close-up of his eyes behind his autpgraph signature
In Concert icon
ONE ON ONE tour - Paul McCartney - US Bank Arean, Cincinnati, OH - July 10, 2016

Yeah, well, Paul's doing a new show, so I'm going. Bought a ticket last Thursday for the July 10 show in Cincinnati at the U.S. Bank Arena.

You may or may not recall -- depending on whether or not you are one of the five who actually, occasionally read this silly blog -- that I elected not not see Paul when he toured last year since it was the essentially the same "Out There!" show I had already seen twice, in Indianapolis (2013) then Chicago (2014). There's enough of a change to the song list this time, plus a new staging, that I was able to justify supporting the further enrichment of Sir Paul's billions with another $280-plus ticket.

I seem to have a comparable seat to the one I had in Chicago in July of 2014 -- my last Paul show. Not a fantastic seat, but not a bad one, either.

Seating chart of US Bank Arena with my seat for Paul McCartney on July 10, 2016. section 110, row E, seat 10; row is about halfway up the section; not sure where seat 10 is in the row

This will be the tenth time I will see Paul in concert. For the record, here are my previous Paul shows:

1. Wings Over America Tour - May 27, 1976, Cincinnati, OH (Riverfront Coliseum)

2. The Paul McCartney World Tour - Feb 12, 1990, Cincinnati, Oh (Riverfront Coliseum)

3. The New World Tour - May 5, 1993, Cincinnati, OH (Riverfront Stadium)

4. Driving USA Tour - Apr 29, 2002, Cleveland, OH (Gund Arena)

5. Back In The US Tour - Oct 10, 2002, Columbus, OH (Jerome Schottenstein Center)

6. US Tour - Oct 22, 2005, Columbus, OH (Jerome Schottenstein Center)

7. On The Run Tour - Aug 4, 2011, Cincinnati, OH (Great American Ball Park)

8. Out There! Tour - July 14, 2013, Indianapolis, IN (Banker's Life Fieldhouse)

9. Out There! Tour - July 9, 2014, Chicago, IL (United Center)

Here's the set list from the first show of this current ONE ON ONE tour, which was at the Save Mart Center in Fresno, California just this April 13th:

1.   A Hard Day's Night
2.   Save Us
3.   Can't Buy Me Love
4.   Letting Go
5.   Temporary Secretary
6.   Let Me Roll It
7.   I've Got a Feeling
8.   My Valentine
9.   Nineteen Hundred and Eighty-Five
10. Here, There and Everywhere
11. Maybe I'm Amazed
12. We Can Work It Out
13. In Spite of All the Danger
14. You Won't See Me
15. Love Me Do (semi-acoustic version)
16. And I Love Her
17. Blackbird
18. Here Today
19. Queenie Eye
20. New
21. The Fool on the Hill
22. Lady Madonna
23. Four Five Seconds
24. Eleanor Rigby
25. Being for the Benefit of Mr. Kite!
26. Something
27. Ob-La-Di, Ob-La-Da
28. Band on the Run
29. Back in the U.S.S.R.
30. Let It Be
31. Live and Let Die
32. Hey Jude

Encore:
33. Yesterday
34. Hi Hi Hi
35. Birthday
36. Golden Slumbers Medley

*I suspect that the "Golden Slumbers Medley," at least, is a separate encore -- it usually is.


RIP Doris Roberts - November 4, 1925 - April 17, 2016
Maria Barone may have been a bit annoying and more than a little infuriating at times, but it was only because Doris Roberts' performance was so beautifully crafted, as were her performances always, across her career. We have lost one class actor. May she rest in peace.


Thu, Apr 21, 2016

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FYI ICON
DTG Director icon

There is a plan....

...More later...

...Much later.            




IT'S A MIXED BAG:
AUDITIONING QUESTION ICON
AUDITION ICON
Some of you may know that I recently auditioned for a role in a show and was not cast. In hindsight it was a good thing. I have come to realize I am not far enough along in my recovery from the heart attack and the heart surgery to take on a rehearsal schedule. I would have been getting to bed at 11:00-11:30 every night and I am not ready for that -- not while I have an eight-hour work day the next day.

I opted out of a more recent audition, as well. I am recovering well, but "completely recovered" is a ways off, I think.

AUDITIONING QUESTION ICON
The Dayton Playhouse FutureFest 2016 auditions will be coming up in about four to six weeks and I'm on the fence about them. I will see how I am doing then. Again, my recovery is progressing at a good pace, but, as indicated above, I am still getting fatigued much faster than I am used to though I am getting a little more resilient each day. In fact, I just saw my cardiologist and he was quite pleased with my progress. Yet, I am not where my impatience wants me to be and I will make my decision about FF auditions when they are closer, ignoring the input from my impatience.

AUDITION ICON
PROFESSIONAL GIG ICON
However, I absolutely will be doing the Generals for the 2016/2017 The Human Race Theatre Company season. They will be in just a month and I will be there.

I am not sure there is a spot for me in the season but I am auditioning anyway. I did have a recent texting conversation with a fellow local acting colleague who also feels there is not a spot for him in the season. When I expressed the same he responded that he believes I have a good enough musical ear and ability that I could at least be cast as part of the quartette in Sweeney Todd.

I hope he is correct. At any rate, I am auditioning even if there is no real chance of placement for this simple reason: I have a personal need to do at least ONE professional audition during the year. I haven't done a professional audition for quite a while; in fact, last years HRTC Generals was my last professional audition. By and large, these past two years or so,as I stated in the last blog entry I can't even honestly label myself a semi-professional actor. I have to take some action to stay connected to professional acting to some extent.

Sweeney Todd is up first in the season, and rehearsals start mid-August, so I could be up to the schedule by then. I am not putting all my eggs in that basket, however. just because my colleague believes I might be an in for that one doesn't mean it's true. Honestly, as I look at the character breakdowns for the rest of the season's shows I think there are a few roles that I am right for, I am just skeptical about the local, non-Equity actor's chances against Equity professionals, be they from New York, Chicago, or local resident artists, in any significant feature role or better -- even if I am an EMC actor, myself. But, you know, what? this was the case with both Grandpa Gellman in Caroline, or Change and Rabbi in Fiddler on the Roof -- so, what do I know?

There are also Musical Theatre Workshops and Marsha Hanna New Play Workshops coming up, but both seem to be this coming summer (July) so we are back to the question of whether I can handle the rehearsal schedule.

Regardless of the variables, I am doing the Generals!


THE HITCH IS ON:
In the audience icon
Speaking of The Human Race Theatre Company, tonight I see Stand-up Legend Lewis Black's play, One Slight Hitch, which was directed by Margarett Perry whom I was directed by a couple of years ago.

I almost went last night but decided against it. Too bad I didn't go because, as it turns out, Black was there for a Q&A after the show. I could have shaken his hand for the third time.

Oh well.



Fri, Apr 22, 2016

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RIP Prince - 6/7/59\4/21/16
The word genius is often erroneously applied to those who really aren't one. This man was not one of those cases. To think he wasn't brilliant is to have an esthetic opinion that is not worth any attention.



LAST NIGHT'S HITCH:
In the audience icon

Last night I attended the The Human Race Theatre Company production of One Slight Hitch, penned by comedian Lewis Black, and directed by Margarett Perry -- whom directed me in Michael Slade's Gingerbread Children.

The play is a sweet little broad comedy that Margarett had her cast play in kind. It was fun to watch and I am sure fun to do.



Sun, Apr 24, 2016

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Ohio Playwrights Circle
FOR THE LOVE OF THE CRAFT ICON
Yesterday I again was one of the actors who read work by the students in the play writing class collaboratively sponsored between The Human Race Theatre Company and The Ohio Playwrights Circle, and taught by local Playwright Michael London. We prepped a couple pieces for the public reading at 7 pm on May 7 at The Guild. Next week we will prep the rest of the work that will be featured.


Wed, Apr 27, 2016

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16/17 AT THE RACE:
AUDITION ICON

It's time to start gearing up for the The Human Race Theatre Company 2016/2017 season Generals.

I'm 99.9∞% locked on the song. Yes, I am singing this year, partly because of Sweeney Todd, but also just to keep the muscle a little worked. The Theatre Goddess knows I don't flex it enough, partly because I really have more of a passion for straight plays. As for the monologue: I have no idea at this point.


ANNOUNCING THE CAST:
LAST GAS & Dayton Theatre Guild combined logo.

The show has been cast, except for, as of the time of this posting, the role of Troy -- we need a younger actor who can play fifteen or sixteen. Here is the current cast list, in order of appearance:

CHARACTER
           ACTOR
Nat Paradis            Jared Mola

Troy Paradis-Pulcifer            Jack Lewis
Updated O5/07/16 to reflect Jack's casting

Guy Gagnon            Rick Flynn

Dwight Paradis            Dave Williamson

Cherry-Tracy Pulcifer            Rachel Wilson

Lurene Legassey Soloway            Angela Dermer

DTG Producer icon
Last night was the table read and I was to be there to do producer's stuff with the cast and also to take on the role of Troy for the reading. However, like much of the mid-west, there were severe storm warnings in the area where I live, and more pointedly, flash-flood advisories. I live in a flood-zone and have come home from the theatre in the past to find my neighborhood in several feet of water -- happened in 2014 during rehearsals for The Dead Guy.

I really didn't want to arrive home to such again, so I elected to stay home and keep and eye on things. This, of course, meant that no flooding occurred, but I am certain that is only because I stayed home. Now I will conduct some good portion of the "producer's business with the cast" via email.



Sun, May 1, 2016

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Flashing 'TONIGHT'
Big Lens Film festival 2016 at The Neon - Wright State University film student thesis project films.

THE TOOTH MAN COMETH, a film by Mitch Centers icon
Showing at the festival is Mitch Centers' The Tooth Man Cometh, with myself as The Tooth Man and my talented young co-star Ella Gallagan as my nemesis.

The cast in full:

    K.L.Storer as Barry *(The Tooth Man)
    Ella Gallagan as Ena
    Nate Foster as Kane
    Jacqueline Cook as Cari

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

The production crew:

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



Closing Today

The Cast of The Trip to Bountiful
CHARACTER
           ACTOR
Carrie Watts            Gayle Smith

Ludie Watts            Ray Geiger

Jessie Mae Watts            Amy Askins

Thelma            Angela Dermer

Sheriff/Houston Ticket Agent            Scott Madden

Roy/Houston Ticket Agent            Ryan Shannon

The Promocast for Trip to Bountiful



ANOTHER OHIO PLAYWRIGHTS CIRCLE PUBLIC READING:
Ohio Playwrights Circle
Dayton Theatre Guild Community Outreach and Collaboration

Yesterday afternoon was the last prep session for next Saturday's event -- the public reading at The Guild at 7:00 pm; admission is free. Only two of the four pieces were prepped; the other two were prepped last weekend. Because of this, only the actors reading in one of these two were called yesterday. I am one of them but I am okay with that because I really wanted to read this character, Tully. It's an opportunity to legitimately play over-the-top with a really fun role.

Tully is a challenge. He speaks in very poetically dialectic prose, which is beautiful language to use but takes some rehearsal to flow naturally. I will be woodshedding the script a lot this week. I also will be playing with the stage a bit as this character -- it is a reading but some scripts call for at least some action from the actors. This one needs a bit of action by my character; I've been given freedom with that movement. I will be on the Guild stage this week, working that movement out. There is also a plan to go over at least some of this one before the perfomance on Saturday.

Actually, I'm reading in three of the four play excerpts, which is a little flattering, because I believe I was requested by the playwrights.

You know, sometimes an actor can get into a slump and not really feel like he or she can be authentically referred to as "an actor." Other times, one feels like it is the core essence of his or her being. Or maybe that's just me.

Some of us in one of the other plays that was not prepped or rehearsed in class yesterday, hope to meet beforehand the event to do a run through or two. Of course, I am going to rehearse all three plays during the week, on my own, if not with others. But Tully gets a bit more attention, both his words and his action.


In Concert icon
Friday I bought ticket(s) for another concert tour coming to the area, Sheryl Crow, who will be in town June 30. I wrote "ticket(s)" because, in my haste when first on-line, I snatched up a front-row seat, but failed to notice the "limited view" warning attached. The seat was far right, but it was front row and I initially thought it was a pretty good seat. It may actually be a good seat, despite the "limited view." But, I don't like the gamble. I went back as soon as I realized the situation just to see what I might get. I got a seat in the fifth row, over on the left. This is actually a good seat.

Now I wait for the show to sell-out then put the first one on sale, probably at a discount.

Sheryl Crow in Concert at The Fraze Pavilion, Kettering, Ohio, June 30, 2016

Seating chart for The Fraze Pavilion, showing seat 19, row EE, Plaza C Section - fifth row back on the left aisle of the center Plaza C & B section. Also shows the front for Plaza A seat that is obstructed - the "Bad Seat"

And, of course,
ten days later:

ONE ON ONE tour - Paul McCartney - US Bank Arean, Cincinnati, OH - July 10, 2016

Seating chart of US Bank Arena with my seat for Paul McCartney on July 10, 2016. section 110, row E, seat 10; row is about halfway up the section; not sure where seat 10 is in the row


Thu, May 5, 2016

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THE TOOTH MAN CAMETH:
THE TOOTH MAN COMETH, a film by Mitch Centers icon
Big Lens Film festival 2016 at The Neon - Wright State University film student thesis project films.

You five will know I attended the Big Lens Film Festival this past Sunday evening; that being the showcase for senior films by those about to graduate from the film making section of the Wright State University Theatre, Dance, and Motion Picture Program. I've attended a few times in the past, once because a student who worked for me at the rent-payer had a film in the mix, bu others just because I was interested in seeing the students' works. This tie, of course, I attended more because a short that I am in, Mitch Center's The Tooth Man Cometh was one of the films featured. Not all of the cast was there, but I was happy to be able to sit with my talented young co-star, Ella Gallagan, and her dad, Josh.

It was nice to see the final cut of the film, despite how uncomfortable I am about watching my performances on the screen. If you know me, you may be surprised to find out that the self-critic in me is not often, if ever, impressed with my work -- and so it was Sunday night.

The film itself was, however, beautifully directed by Mitch Centers off of his oddly-sweet script, and beautifully shot by DP Joe Cook. I'm pretty sure Mitch edited it, as well, and did a good job there, too. As for Ella. She gave a wonderful performance and was also a delight to work with. She's a very sweet, well-behaved, intelligent young lady.

The production crew as a whole had their act together and were the quintessential example of "teamwork." Kuddos to them all. I would, however, also point ou the excellent work of sound mixer Kel Lind who managed to capture great production sound on location, to the point that there was no ADR to replace bad audio. I wrote of this before and how it made me very happy. I did have to go into a sound studio during post, but it was to replace some coughs, wheezes, and grunts, not because they were recorded badly on location, but because Mitch wanted them to have different intensities and tones than what I had originally done.

In terms of my performance on screen in this: I cannot say it was awful; that would simply be disingenuous. I know it was good work. I had a lot people tell me it was good work. Mitch was very complimentary during the after-screening talkback on Sunday, saying that he had been having a difficult time casting the role of Barry and it was down to the wire when he did, and when he did, he found the perfect actor for the role. It was quite flattering. And I don't think he or any of the others are liars or have poor judgement. It's just that -- and I am sure I have written this before somewhere in the life of this blog -- I have a particular vision and image of the performances I am giving and I know they are part and parcel to the end result that the audience sees, in theatre seats or watching a screen. here's the thing, however, when I look at the playback, it is different than what I envisioned; that throws me. Plus, I see all the inequities, all the little things that could have been, and in my mind in the moment should have been, done better. I don't know if there's anything to be done about that. It's just the way it is. It will either go away or it won't. I indeed am happy about the experience and feel fortunate to have been able to be a part of the project.

It's all good!

I've posted this before, but, once again, here is the whole cast and crew --

The cast in full:

    K.L.Storer as Barry *(The Tooth Man)
    Ella Gallagan as Ena
    Nate Foster as Kane
    Jacqueline Cook as Cari

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

The production crew:

Mitch Centers (Writer/Director), Joe Cook (Director of Photography) Liz Yong Lowe (1st AD, co-producer, &. Production Designer), Louis Leshner (2nd AD), Jessica Barton (On-set Producer), Michaela Scholl (Script Supervisor), Kel Lind (Sound Mixer), Ethan Frederick (Boom Operator), Nick Kutskill (1st A.C.), Olga Wagner (2nd A.C.), Aubrey Keith (Stills), Sydney Waltz (Art Director), Colin Gleason (Art Assistant), Randy Miller (Gaffer), Brian Merritt (Key Grip), Jerry Ankenbauer (Grip), Leighanna Hornick (Grip), Aly Loy (Production Assistant), Leah Byrd (Production Assistant), Michael Dib (Production Assistant), Danny Kiwacka (Production Assistant), Mark Yungmann (Production Assistant), Barbara Centers (Catering).
xxxx
A screenshot from the movie, The Tooth Man Cometh
xxxx
Myself & Director Mitch Centers at Big Lens -- Photo by Barbara Centers
xxxx
Myself & Ella Gallagan at Big Lens -- Photo by Josh Gallagan
xxxx
Ella Gallagan & her dad Josh at Big Lens
xxxx
We two stars of the show on location with our director -- Production still by Aubrey Keith
xxxx
Mitch Centers -- Production still by Aubrey Keith
xxxx
Director of Photography Joe Cook -- Production still by Aubrey Keith
xxxx
Supporting Actress Jacqueline Cook -- Production still by Aubrey Keith
xxxx
Supporting Actor Nate Foster -- Production still by Aubrey Keith
xxxx
Joe Cook & Mitch Centers. By the way, that is a Red Scarlett camera -- Production still by Aubrey Keith
xxxx
Myself with Nate Foster
xxxx
Me, Ella Gallagan, Jacqueline Cook & Mitch Centers -- Production still by Aubrey Keith
xxxx
Is that me, or John Steed? -- Production still by Aubrey Keith



PRE-PRODUCTION NOTES:
LAST GAS & Dayton Theatre Guild combined logo.

DTG Producer icon
SOUND DESIGNING ICON
DTG Promocast Production logo
The production team and the cast were excited because we thought we had filled the role of Troy, but it turns out the young man who was cast then realized he would have to be absent for two of the performances. We are again shy one actor. Our director does have a potential lead so we may be at full cast very soon.

Meanwhile, I haven't really started working on sound but that will be changing quickly. There is a designers production meeting next Wednesday, but I'll be on it before then. I also have yet to get ahold of the playwright to seek clearance to use dialogue in the promocast. I think I need to contact his literary agent. I sent an email to a full inbox, so it looks like I have to call her.


ANOTHER OHIO PLAYWRIGHTS CIRCLE PUBLIC READING -- This Time With Me As A Reader:
Ohio Playwrights Circle
Dayton Theatre Guild Community Outreach and Collaboration

Just a reminder that there is a public reading of selected excerpts from new plays, this Saturday at 7 pm at The Guild -- 430 Wayne Ave., Dayton, OH, 45410. Also remember I am one of the readers -- though that's not the only reason to attend.

It's put on by The Ohio Playwrights Circle and hosted by DTG. There will be a talkback with the playwrights to end the evening. Admission is free.

Last night a few of us actors got together to rehearse one of the scenes we will be reading Saturday. I will also be woodshedding other scenes on my own, as I wrote in the last post, both because of some language I need to conquer and some movement I need to work out.

There will be another reading from new works on Sunday, June 19, 2016 at 2:00 pm.

The Ohio Playwrights Circle (OPC) exists to bring opportunities and education to Ohio playwrights. OPC is a project of the American Artworks Foundation. For additional information please contact Ohio Playwrights Circle at:

Facebook: www.facebook.com/pages/Ohio-Playwrights-Circle/269003976491324
Blog: ohioplaywrightscircle.wordpress.com/


FYI ICON
MOVIE PRODUCTION STUFF ICON


There is the birthing of a plan....

...More later...

...Much later.            

*IF YOU CAME TO THIS FROM ANOTHER PAGE OR PLACE, SIMPLY HIT YOUR BROWSER'S BACK BUTTON TO RETURN TO WHERE YOU WERE



Sat, May 7, 2016

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Flashing 'TONIGHT'
Ohio Playwrights Circle - Selected shoirt readings by new playwrights at The dayton Theatre Guild, Saturday, may 7, 2016 at 7:00 pm - admission is free

Dayton Theatre Guild Community Outreach and Collaboration
Ohio Playwrights Circle
As you may or may not know, I am one of the readers for this performance. This will be close to, but not exactly, a cold read. We have, to some extent, rehearsed the works, in class sessions and, in some cases outside of class. For instance, three of us met Wednesday evening at The Guild to rehearse one of two scenes being done from the play, Memorial Day (The Last Dinner), by Daniel W Owens. I play an ex con who could easily be connected to the Irish mob, named Jack.

This morning I'm heading to The Guild to rehearse some things on my own. I'll be working out movement for the character Tully from Brett Shane Cooley's The Lesser Light. Like I wrote on May 1, Tully is the big challenge of the night, and will be the most fun to play. He's big and broad and maybe just a little bit crazy. I'm also going to spend some time on that poetic but challenging language of Tully's.

The third one that I am in is Katherine, by Lisa Schreiber, an historical accurate fiction about Katherine Wright, the sister of Orville and Wilbur. I play Henry Haskell, who becomes Katherine's husband. I need to rehearse that a little, too. Henry has a reserved yet still observable emotional arch in the reading that I need to get into my cellular being, plus a few passage that I need to work on more to get them flowing with a natural feel.

So, I'm off in a few....


PRODUCTION UPDATE:
LAST GAS & Dayton Theatre Guild combined logo.
DTG Producer icon
Two new items about this production. First is that we have cast the role of Troy Paradis-Pulcifer with a young man named Jack Lewis.

Also, if you happen to read this in time, there is set building today and tomorrow at The Guild. Today 10 am until 4 pm. Tomorrow, 2-5 pm. Also, during the week, Tue-Thu, from 2-5 pm and Fri and next Sat, 10 am till 4 pm, then Sun, May 15, 1-5 pm.

There will be more set work beyond that too. If you want to come help -- it's a beautiful, ambitious set, designed by Bruce Brown -- please drop by:

430 Wayne Ave., Dayton, OH, 45410.

You can also email me at my DTG addy for more info: kl.storer@daytontheatreguild.org.



Sun, May 8, 2016

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MOTHER MARY...



PRODUCTION UPDATE:
LAST GAS & Dayton Theatre Guild combined logo.
DTG Producer icon

I had to spend a bit more of my time at The Guild yesterday working on set than I had planned because for a time I was the only one who showed up to help our set designer, Bruce Brown. After a while Director Debra Kent showed up and the three of us did get quite a bit done for two physically hindered guys and one woman who's not well-versed in using power tools.

There's WAY more to do. There is set building today, 2-5 pm. Also, during the week, Tue-Thu, from 2-5 pm and Fri and next Sat, 10 am till 4 pm, then Sun, May 15, 1-5 pm.

There may be more set work beyond that too. If you want to come help, come on down!

430 Wayne Ave., Dayton, OH, 45410.

You can also email me at my DTG addy if your in: kl.storer@daytontheatreguild.org.



Tue, May 17, 2016

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UPCOMING GENERALS FOR THE HUMAN RACE THEATRE COMPANY:
AUDITION ICON
PROFESSIONAL GIG ICON

I've set my appointment for the HRTC 16/17 season General Auditions. Last year I only auditioned for straight plays, which meant I did two contrasting monologues; this year I am going to go for both straight plays and musicals, since as I discussed in an earlier post, Sweeney Todd may possibly be my best chance of getting on those boards next season. My appointment is on the music-only, or music-&'straight-play day, which is a week from today, Saturday, May 21.

I wanted to be there later in the day than I will be. I wanted some leg room after the morning business at The Guild. There still will be a few hours before my appointment, but I was hoping it would be about ninety minutes later than it is.

I am 100% decided on the song, but only 80-ish% locked on the monologue.


THE OPC PUBLIC READING:
Dayton Theatre Guild Community Outreach and Collaboration
Ohio Playwrights Circle
FOR THE LOVE OF THE CRAFT ICON
On Stage icon

It was a lot of fun Saturday night, May 7, doing the public staged readings at The Guild. I got to play three progressively more interesting characters.

First I was Henry Haskell, who was soon to be the betrothed of Katherine Wright, the sister of Orville and Wilbur Wright, in Lisa Schreiber's historically-based Katherine. Henry is a soft-spoken, gentle man. We did a couple rather low-key scenes from the play. We had actually never rehearsed in the L. David Mirkin space at The Guild, which turned out to be a liability. The scene is more intimate and so we played it close; as it turned out we needed to project our voices more. One elderly gentleman did complain, and in a rather demonstrative fashion that bordered on rude and disrespectful. He, in fact, started his comments with, "No disrespect intended...." which often really means quite a bit of disrespect is meant here, and that seemed to be the case here. Regardless of that fellow's unnecessary aggressiveness, the point was still valid that we should have rehearsed at least once in the space so we would know that we couldn't keep it as audibly intimate as we had been doing.

Next I got to be ex-con, Jack, in Daniel W. Owens' Memorial Day (The Last Dinner). Jack is a boisterous old Irish-American, fresh out of the pen and pretty unlikable. And no one had any trouble hearing me in that role.

Last was the most delicious role of the evening: Tully, in The Lesser Light, by Brett Shane Cooley. Tully is mentally off, a war vet probably suffering from acute PTSD, though in the time frame of the play it'd been called battle fatigue or perhaps even shell shock. He sees himself as a sort of Kharon-like figure. I was able to legitimately play over-the-top, which is always fun. And -- BELIEVE ME -- absolutely no one had any trouble hearing Tully, at all.

* I did not include the names of the other actors because I have lost some of the information and cannot correctly identify a couple, and I don't want to mention some and not others; and I have a full day and need to move on from this.


PRODUCTION UPDATE:
LAST GAS & Dayton Theatre Guild combined logo.
DTG Producer icon
There has been a good complement of volunteers helping with the set construction. Quite a lot of progress has been made, but there is a plot twist of sorts. Set designer Bruce Brown was in an auto accident Sunday morning, which he thought he had come out of pretty unscathed. But Monday he felt the need to go to the hospital and they discovered he had a broken sternum from the impact of the collision. They kept him overnight and I don't know as I write this, how long he will stay. It's probable he will be released today, but regardless of that. His physical involvement in building the set clearly needs to be paired back, maybe quite a bit.

I'm also still looking for a lighting operator for the show. Email me at my DTG addy for details: kl.storer@daytontheatreguild.org.

SOUND DESIGNING ICON
Sound design is underway. Wednesday there was a production meeting before the rehearsal specifically for technical design. I've pulled together a couple country songs for two country swing dance segments in the show. I have the raw recordings of several voice-overs which feature Teresa Connair as a newscaster, Barb Jorgensen as a commercial spokesperson, George Spelvin as a sportcaster, and Joseph Knead as a commercial announcer.

DTG Promocast Production logo
Copyright © Symbol icon
Contacted Playwright John Cariani via his agent seeking clearance to use dialogue in the promocast. Unfortunately for us, Mr. Cariani declined clearance, so we will be going with a voice-over of the director with b-roll of dress rehearsal.


THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Okay. I am designing sound for the first show of the next season. Director Jeff Sams has a production meeting this Saturday, after our monthly DTG board meeting.

I will NOT design the sound for all the shows next season.

Let me repeat that: I will NOT design the sound for all the shows next season.



Tue, May 24, 2016

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CATCHING UP





CANCELED
AUDITION ICON
My Cardiac Update icon

I wrote a month ago that I absolutely would be doing the Generals for the 2016/2017 The Human Race Theatre Company season. Then, of course, last week I made an appointment to do an audition this past Saturday afternoon.

Thursday I called and canceled my appointment.

It's very simple. My cardiac recovery is coming along very well, but I am still in recovery. My stamina is getting better all the time, but not at breakspeed. It's not taking a whole helluva lot to wear me out. Each day it's taking a little more to tire me, but only a small amount more. The recovery of my stamina is progressing incrementally.

As I wrote earlier, I did recently audition for a show and was not cast. I was more than a little disappointed, though not surprised, but I then came to realize that I wasn't ready to adhere to a rehearsal schedule. I still am not. I don't think there's much chance I will be auditioning this summer for The Dayton Playhouse's FutureFest 2016.

I feel confident I'll have the endurance to handle a rehearsal schedule at some point during the 16/17 season, but at a local non-professional theatre company, The Guild or another such theatre. If I can make it through rehearsals at The Race it would be later in the season.

The typical rehearsal schedule at a theatre like The Guild is Monday through Thursday, sometimes Monday through Friday, 7:00 to 9:00 or 9:30 for four or five weeks. Then Tech Sunday will be the last Sunday before the show opens. That will be several hours in the afternoon into evening. If I were also the sound designer it would be more time, because I would be in a few hours earlier than the cast call to deal with things from the designers aspect. The rest of Tech Week will be comparable to the other weeks. Typically the runs Monday through Wednesday will start at 7:00 and the whole show will be ran with the whole fifteen minute intermission included. Plus, there might be stops and starts to fix problems and notes afterward, so it might, depending on the show, be a three-hour night.

The run at Final Dress, which will be the Thursday of Tech Week, often will start at 8:00, but there's not likely to be ant stops -- there could be, but only if there is a major problem that absolutely must be addressed. There will, however, probably be notes; I can only think of one instance at The Guild when there were not notes after Final Dress.

At The Human Race the rehearsal schedule is far more rigorous. Basically, with some minor variation, they will be, for musicals, three weeks of rehearsals Tuesdays through Friday, 6:00 to 11:00, then Saturdays and Sundays, 11:00 am until 7:00 pm. Tech Week usually starts with a "Tech Friday," rather than a "Tech Sunday." Then that weekend the days are a bit longer with the Saturday being what is known as a Ten Out of Twelve rehearsal -- 11:00-11:00 with a two-hour lunch break; that Sunday is usually 11:00-9:00 with two-hour lunch break. The last two tech rehearsals are Tuesday and Wednesday, calls at 6:00, run at 7:00. Both are usually in front of an audience. Tuesday will be invited guests, big donors, etc. The Wednesday Final Dress will almost always be the Pay What You Can Night. For the straight plays (non-musicals) there is a week less of rehearsal.

The part of the equation I haven't dropped in yet, for both the non-professional and The Human Race shows is the fact of my working a full-time job during these rehearsal schedules. When I do an HRTC show here's the schedule, with my usual arranged workweek at the rent-payer:

    MONDAY work: 7:00 am-5:30 pm
    rehearsal: Equity Day Off9

    TUESDAY-FRIDAY work: 9:00 am-4:00 pm
    rehearsal: 6:00-11:00 pm

    SATURDAY & SUNDAY work: off
    rehearsal: 11:00 am-7:30 pm

To reiterate from earlier posts, Sweeney Todd is the most probable chance I have to get onto the boards there. Those rehearsals start August 12. That just seems too soon for me to take on that kind of schedule. The prognosis I have is a year of recovery before I am back to full juice, before my heart is completely healed from the trauma of the surgery.

If I would have had a chance at another role, later in the season, it's just an unknown to me if I'll have recovered the stamina to deal with the HRTC rehearsal schedule while dealing with that rent-payer.


INTO TECH WEEK:
LAST GAS & Dayton Theatre Guild combined logo.

DTG Producer icon
SOUND DESIGNING ICON
DTG Promocast Production logo

We are into Tech Week now. Tech Sunday went as smooth as a Tech Sunday is probably allowed to go. Sound issues were for the most part the standard stuff. I did have a technical problem with a practical phone that I had to divert to using a sound file of a phone ring and send to a hidden speaker on set. I also have one sound file of a particular truck arriving that needs tweaked; it sounds like it's going through a phase shift or something -- there are several vehicles that we hear come and go throughout the show. And, of course, there's a lot of volume adjustment to be made during these last rehearsals.

I have quite a few notes I made during Act I, last night. I left before Act II was run; it was after 9:00 and I was starting to feel my day. I knew I needed to get to bed soon or I would not have had a good day at work today. Tonight I will need to stay through II. I have to attend to sound volumes and dynamics in that act.

Plus, I am shooting the DV footage for the promocast tonight and I need to at least part of the second act. I also want to shoot the directors notes afterward. I also have to record commentary from Director Debra Kent for the promocast, since we were denied clearance to use dialogue from the play.

Fortunately, I'm off work tomorrow to edit the promocast so I can be up a bit later tonight.


INTO NEXT SEASON:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON

I attended Director Jeff Sams' production meeting, last Saturday, for the 16/17 season opener. Pretty preliminary in terms of sound needs. We did discuss a few things, including music and sound during the sinking of the ship. I haven't even read the script yet. I kind of want to audition, but I am still skittish about even a non-professional theatre rehearsal schedule that I would need to commit to in late summer. Actually, I haven't even read the play, yet. Yeah, yeah, yeah: walk into a production meeting as a designer who hasn't read the script....I know, I know.



Fri, May 27, 2016

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Opening Today

LAST GAS by John Cariani, at The Dayton Theatre Guild.

Click here for the promocast of the show



Memorial Day, 2016

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But in a large sense we cannot dedicate, we cannot hallow this ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or detract -- Abraham Lincoln. In Memory: Memorial Day, 2016



OPENING WEEKEND:
LAST GAS & Dayton Theatre Guild combined logo.

DTG Producer icon
Clearly, since last I wrote to the blog, we've come through Tech Week and the first weekend of performances. We had a good Opening Weekend. Technically, Friday night was sold out, but a few ticket holders didn't show; my guess is those were season ticket holders who didn't show because it is Memorial day weekend, or because it was really nice weather out on Friday, and they didn't think to call and let us know we could free up the seats.

For the record: when I can't make a show I have tickets for, I call the theatre and let them know. But that's just me. And, I digress....

I wasn't there Saturday, but I do know that, just as they did on Friday and yesterday, the audiences' responses were quite favorable. They have been liking it all weekend. I know the cast has felt good about the show. So, we got good stuff going on again at The Guild.

SOUND DESIGNING ICON
The sound design is working well enough. There is a sound system problem that is bugging the shit out of me. We are supposed to be able to isolate each of up to eight channels into eight speakers. The first four of those being the four house speakers, each in a corner of the ceiling in the Mirkin Mainstage theatre space. However, there is bleed even when a sound is assigned to only one speaker; it can be heard in other speakers where it should not be. It pisses me off. There may be a solution and you best be damned sure if there is, I am going to find it.

Lighting Technician icon
Meanwhile, yesterday I shadowed our young lighting technician, Micah Hardman, because he can't do the second weekend of the run, so I am pinch-hitting, operating the lights for the show both next Friday and Saturday. Lighting Designer Marjorie Strader will run the lights Sunday, and I might just sit in the audience that day.

By-the-way, don't get too used to the new "Lighting Technician" icon; it won't be making frequent appearances, whatsoever.


THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
DTG Promocast Production logo
Copyright © Symbol icon I've been in contact with Playwright Luke Yankee seeking the clearance to use dialogue from the play in the promocast, and he has been gracious enough to grant us said permission.

So YaY!



Tue, May 31, 2016

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THE TOOTH MAN COMETH opening title screenshot

THE TOOTH MAN COMETH, a film by Mitch Centers icon
FYI ICON -- just for the record, Director Mitch Centers recently provided me with a copy of the final cut of The Tooth Man Cometh.

The film is not yet for public consumption as he is submitting it to film festivals, many with restrictions against qualifying films being available on-line and such.

At some point in the furtue there will be a live, public link to the movie, at Vimeo, I believe, and when it is out there, I will share it here.

Until then, the screenshot above, from the opening title sequence, is about as much as I can share of the final cut.


THE MAY FILM CONNECTIONS MEETING:
Film Dayton icon
For the first time in many months I am going tonight to the Film Connections meeting, hosted by film dayton. Tonight's guest is Adam Rabinowitz who works in cinematic sound. Here is the bio for him at the film dayton site:
    He has over 15 years news, commercial, documentary, film, live event experience in Location Sound Mixing, Sound Design for Film/Video/Stage, Sound Editing..., Foley/Sound effects, Video/Film Editing....Adam has worked on Shark Tank, House Hunters, Undercover Boss and Dateline, just to name of few of his jobs.
As is obvious, I have particular interest in what Adam has to say. His work as sound designer in theatre is of clear interest, but I am also interested in sound for film, of course.


Finally....

POST-SCRIPT
All Is Calm & Dayton Theatre Guild combined logo.
POST-MORTEM
It's been now six months since All is Calm closed, and thusly, a half year of not yet achieving closure through this post-script, post-mortem essay I have been interminably promising was "coming soon." With all the time now put between myself and the end of the production I hope I can look back upon the experience with better objectivity than I could have right on the heels of closing the show.

How much my intervening life-altering event, my heart attack and the subsequent open-heart surgery, of just about five months ago, colors my perception is good question. Yet, with or without the life-threatening event, I look back upon the earlier endeavor with a great sense of accomplishment, both personal accomplishment and collaborative accomplishment with both all of my castmates and with the production team. We all have a lot to reminisce upon with fondness, satisfaction and pride.

About a year ago, shortly after we had picked the season, and very shortly after Director Kathy Mola had recruited me to audition, I got the Cantus soundtrack from the original production. Cantus being the choral group who originated the vocal performances for All is Calm.

Let me digress somewhat to interject this: I was not the only guy Kathy encouraged to audition. She and Music Director David McKibben threw a wide net, trying to get as many capable male singers as possible for the pool of casting choices. So I was nowhere near singled out; just want to make that clear. As the DTG facebook page administrator, I, in fact, participated in throwing that wide net.

Back to the original All Is Calm soundtrack. If you have never heard Cantus, as I hadn't at the time I first got the soundtrack, please know that they are a grade-A male choral ensemble. They are gold-standard. They are intimidating, especially to a guy listening to them sing the arrangements for a musical theatre piece he's slated to audition for in a few months. I'm so impressed with the ensemble I now have two other albums by them.

If I was intimidated somewhat by the performances on the sound track, all those months before the auditions, it got worse later, because then I was cast in the show and was introduced to the score, and to the technicalities of the arrangements. To be honest, many of the arrangements are not complex, but others are very much complex.

To reiterate from past posts, the biggest magical moment of the show was "Shtil au Naucht" ("Silent Night"), which took more of my own time out of rehearsal to work on than any other song, and I know that was true for many other cast members. It is an astonishingly beautiful arrangement and I am, as all of us in the production are, gratified we met the challenge to present this music as it was arranged. One point of interest was that I was assigned to sing bass on most of the song. I'm really a second tenor, or bari-tenor. Perhaps I'm a little bit closer to a pure baritone than I was as a youngster, but I certainly am not what can be called a strong bass vocalist. Fortunately we had Mike Taint, who is a bone fide bass, so the lower notes were carried much stronger by him. Also fortunate was that a lot of the bass line was in the upper regions of that vocal range and were comfortable for myself, and the other "bass," David Hallowren, who too identifies himself as a tenor. No complaints about it though. It was a great vocal line to have been assigned. And the arrangement is nothing less than magnificent, if a bear to learn and execute.

And, by-the-way, Mr. Hallowren had the baritone solo at the start of the song, which he brought off magnificently.

"Shtil au Naucht" was not the only magic moment of the night, however. There were others. Right beside it was "Auld Lang Syn," which I was privileged to start with the verse-one solo. This one also took a bite out of my time and energy spent on the show, as well. It wasn't the opening solo but the harmony work that needed all that study and practice.

There were a few other challenging arrangements, but another type of challenge for me was memorizing lyrics in foreign languages, languages which I don't know. What I learned is it's difficult for me to memorize words that have no meaning to me, phrases that mean nothing to me. There is nothing to anchor to when the words are nonsense to me. My method was to drill phonetics into my brain cells; it was difficult to get the correct pronunciations to stick. I know for a fact I was not alone in this particular difficulty.

These challenges and others just made for many moments of magic. Pretty much every member of the ensemble had at least one great moment in the spotlight, whether it was a solo vocal or a gripping monologue. There were lots of collaborative magic moments, with some sweet harmonies and some great teamwork, also. I had a monologue almost at the end of the show, where, in a British accent, I told the story of the nightly ritual in Ypres, Belgium where "The Last Post" is played by a bugler and four words are spoken: "We will remember them." From Tech Week on into all nine of the performances, I choked up on those words every night.

It was simply a fantastic experience. I know I am not alone in that feeling.

Here are the fine gentlemen of the All Is Calm cast:

Gage Emerson, Michael Favors, David Gaylor, David Hallowren, Chuck Larkowski, Dave Nickel, Chris Petree, Jeff Sams, David Short, K.L.Storer, Mike Taint.

The fine production crew:

Kathy Mola (Director), David McKibben (Musical Director), Patty Smith, (Stage Manager), John Falkenbach (Lighting Designer), Scott Wright (Lighting Technician), Kathy Durig (Projection Technician), Carol Finley (Costume Designer), Alex Lindon (Bugle solo).



Wed, June 1, 2016

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LAST GAS & Dayton Theatre Guild combined logo.
Lighting Technician icon
Some of you know from reading the previous post that I am pinch-hitting as the lighting technician (operator) for the performances this Friday and Saturday. Last Sunday I sat in the booth with the main light tech for the show, Micah Hardman and shadowed (observed) him running the lights. Tonight I will drop by the theatre to do a couple dry techs with just me, the script, and the light board.


NO MAY FILM CONNECTIONS MEETING FOR ME:
Not At Film Dayton icon
My Cardiac Update icon

I did not make it to the Film Connections meeting last night to hear cinematic and theatre sound man Adam Rabinowitz. I have a sore shoulder, which has been interfering with my sleep the last couple nights, and by the end of the work day, yesterday, at the rent-payer I was worn out. I didn't go to cardiac rehab, instead going home to see if a nap of an hour or so might energize me to make it into Dayton and the presentation. I did not at all feel like leaving the apartment when I woke up to the alarm. I slept for a few more hours then got up and cooked some things for lunches and dinners the rest of the week. Getting enough sleep is critical to my continued recovery. If I want that old stamina, I need to build toward it, not push it.



Thu, June 2, 2016

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LAST GAS & Dayton Theatre Guild combined logo.
Lighting Technician icon My Cardiac Update icon

Lighting dry tech was diverted from last night for the same reason I didn't attend the film dayton film connections meeting the night before. Because of this current, nagging shoulder sprain, which has been messing with my ability to deeply sleep the last few nights. By end of the work day I was pretty beat, and just wanted to go home and nap, so I did. Now I must be committed to get to the theatre early tomorrow, straight from the rent-payer and do the dry tech rehearsal. I have to. I can't sit there during performance later tomorrow evening having not rehearsed, even if only on my own. Grant you, it is simply pushing the go button at the correct time, but it's not missing that timing that is the concern.



Mon, June 6, 2016

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Photo of American and allied troup ships landing on the beach at Normandy on June 6, 1944
June 6, 1944 -- D-Day


Wed, June 8, 2016

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

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



Last Day of Cardiac Rehab
My Cardiac Update icon

Monday was my last visit to cardiac rehabilitation, which I started in late February. If the headline to this section of today's blog entry seems celebratory it's more because I no longer have to make the thirty-minute dash to the The CardioPulmonary Wellness Center three times a week, and I don't have to jockey my work hours around to accomodate the sessions. Plus that time after work is now freed up. Though, actually, I'll now be going back into the gym, after more than a half-year away, far more than a half-year away.


SECOND WEEKEND DOWN:
LAST GAS & Dayton Theatre Guild combined logo.
xxxx
A new POV in the tech booth: from the light board. With only one shadow performance and two solo dry techs.

DTG Producer icon
The show is now past its halfway mark and has thus far had a successful run. The audiences have all loved the show and it has received two glowing reviews.

Russell Florence, Jr. gave us one of those reviews: "'Last Gas' Review - Dayton Theatre Guild - In Pursuit of Happiness" at Dayton Most Metro.

The other is from Burt Saidel in the Oakwood Register, June 1, 2016 edition -- go to page 19.

Lighting Technician icon
Friday, the start of the middle weekend of run, saw me at the light board, running lights for the show, while young Micah Hardman was in New York City checking out some Broadway Productions.

My plan had been to drop into the theatre Wednesday evening and do a few dry tech runs on my own, just me, the script, and the board. I ended up not making it in, but I did manage to get there early enough Friday to get those dry techs in. I knew Thursday wouldn't be good because the cast was scheduled in to do a brush-up. I am happy -- relieved -- to report there were no major screw ups on lights either Friday nor Saturday.

There was one late light change Friday, but that was because of a misleading note in the script. I also was a little late with a cue Saturday because I wasn't paying as close of attention at one point as I should have been. But neither of those were a big deal, at all. It turns out I now have to do it again this coming Saturday.

PRODUCTION GREMLIN ICON
SOUND DESIGNING ICON
Sunday I was not supposed to be there. However, thanks to the damned GREMLIN bitch, I ended up going in. I was just about to sit down to a late lunch, well, really a very late breakfast, when I got a text from the Last Gas sound tech, Sarah Saunders: "Uh, computer just restarted on its own..."

Curtain was just twenty-two minutes away. I texted back that I was heading over. She texted back that it was up and running again, that an error message popped up saying that due to internal issues Windows needed to restart. Despite that it was back up, I went anyway, just in case. I know that gremlin and if I had not gone in, it would have screwed with things a little bit more. But I did go in, and all went well. After the performance I ran a diagnostic, as best as I could, not being all too familiar with the newer Windows systems. But I think I ran an adequate systems check and no problems came up. So, for the moment, it seems everything is good.


A MASTER CLASS AND A CIRCLE MIRROR TRANSFORMATION:
In the audience icon

Tonight I am off to Can Night at The Human Race Theatre Company to see Master Class, by Terrence McNally. I am not at all familiar with even one cast member of this production.

Sunday afternoon I will see Circle Mirror Transformation, by Annie Baker, produced by Fran Pesch's Young at Heart Players and hosted at The Dayton Playhouse. In this production I know four of the five cast members: Cheryl Mellen, Dave Gaylor, Steve Strawser, & Megan Cooper -- Jordan Norgaard, I don't know. Not only do I know these four, I have been on stage with all of them.


RIP Muhammad Ali, Jan 17, 1942-June 3, 2016
I was a little kid when Muhammed Ali refused the draft. I remember pretty much all the adult men in my life saying that he was a traiter, a coward, a national disgrace. It made no sense to me. He was refusing to go to a war that he didn't believe was just. That seemed pretty in step with the concept of America's freedom of speech and expression. It didn't escape me, even at that age, that he wasn't running, either. He was willing to stand up for his beliefs and accept the consequences of that action. He took those consequences with bravery, not cowardliness. You can say he refused the draft, but if you call him a "draft dodger," you are simply incorrect. He didn't run to Canada, he didn't go into hiding, he firmly stood up and said, "No." And wasn't he pretty much vindicated before it was all said and done? Then there's the whole civil rights involvement. Nothing I've said here is original. Neither is it original to say that he truly was The Greatest.

RIP Peter Shaffer, May 15, 1926-June 6, 2016
Just a short, selected list of the works from this brilliant playwright: Black Comedy (1965), Equus (1973), Amadeus (1979), The Gift of the Gorgon (1992).



Thu, June 9, 2016

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My Cardiac Update icon
In The Gym
Today, after work, I return to the gym for the first time since my heart attack, the first time in many months before that, even.

A bit of routine has been added now. I now pack my portable blood pressure reader into my gym bag, as well as my pulse-oximeter so I can keep tabs on my blood pressure, pulse, and blood oxygen counts.

It's fortunate that the elliptical machines in the gym have pulse reading grips on them, because I am not allowed to let my heart rate get above 124, and I found at cardiac rehab that it is more than easy to hit 130+ on the elliptical without much effort.

Actually, I believe all the cardio-vascular machines have heart rate grips, and I always used them -- now it's a dedicated part of the program. My target heart rate is 113-124; I usually shoot for hovering at 120.

I'm going to start throwing some weight training in now, too. I didn't do any resistance training at cardiac rehab, save for one time. You wanna talk about back to basics? I never was exactly Mr. Universe, even at the peak of my gym workouts back in the 90's/00's; the poundage I will be working with for a little while to come will be pretty low.

Well, I've been slacking off on the daily heart walks the last few weeks, so getting back into the gym and making it a routine again is nothing but good, even if I'm behind a bit in the field from where I once was. This is all a progress-not-perfection kind of a thing.....


NO MASTER CLASS AT HRTC...YET:
In the audience - Not in the audience animated gif icon

I ended up not making last night's Final Dress (Can Night) of the The Human Race Theatre Company production of Master Class, by Terrence McNally. Now I'll have to get a ticket for an official performance night. I'm looking at Tuesday, June 21 -- mostly because the curtain is 7:00 that night, which gets me out of the theatre before 9:30, thus, theoretically, in bed by 10:00 or so -- which, right now, is a better thing for me.

There's no reason to think I will not make Circle Mirror Transformation, by Annie Baker, this coming Sunday afternoon. That being produced by Fran Pesch's Young at Heart Players and hosted at The Dayton Playhouse.

Also, coming up is The Lion King, coming through town, on tour, at The Schuster Center, with the talented Ms. Taprena Augustine in the cast. I had the privilege of working with Taprena in Caroline, or Change at HRTC in late 2011; then I saw her in a tour of The Color Purple, killing the role of Shug Avery. I have a ticket for the June 19 performance of Lion King.

There are other local productions, but I am not sure how I could fit them in.



Sat, June 11, 2016

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My Cardiac Update icon
In The Gym
Hit the gym two days in the row. It was all cardio on Thursday, then fifteen minutes of cardio yesterday, with some work on biceps, triceps and chest -- but nothing intense as far as the resistance training was concerned. I certainly did push it ti a burn, working each ot the three, but not so much that I am sore to any measure today. I do feel an ever slight tightness, just the hint of soreness, but not anything to really mention.

Depending on my caprice in the next hour or so, I may may it back to the gym today. But that may just turn into a short hike at one of my beloved local forestry parks.


LAST GAS & Dayton Theatre Guild combined logo.
Lighting Technician icon
The show closes tomorrow after a successful run. I am pinch-hitting again on light operation for today's 5:00 show.

I want to reiterarte that you will not be seeing this "Lighting Technician" appear often here.

At least that's my current story.



Sun, June 12, 2016

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I don't know what to say about this latest mass shooting, the one in Orlando, Florida, the one that is now that with the biggest body count for a single day mass shooting in America.

Really.

I have no words....

Except, how sad and frustrating is it that there are a lot of other mass shootings to compare it to.

sad



Closing Today

LAST GAS by John Cariani, at The Dayton Theatre Guild.

The Cast of Last Gas

in order of appearance

CHARACTER
           ACTOR
Nat Paradis            Jared Mola

Troy Paradis-Pulcifer            Jack Lewis

Guy Gagnon            Rick Flynn

Dwight Paradis            Dave Williamson

Cherry-Tracy Pulcifer            Rachel Wilson

Lurene Legassey Soloway            Angela Dermer

Lighting Technician icon
My plans for the day had to change. Got a call last night during the Last Gas cast party telling me that I needed to again pinch-hit on the light board for today's show. So there shall I be.

The Promocast for Last Gas



Not in the audience icon

Because of said lighting tech pinch-hitting, mentioned above, I will miss Circle Mirror Transformation, by Annie Baker, today, being produced by Fran Pesch's Young at Heart Players and hosted at The Dayton Playhouse.



Tue, June 14, 2016

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Happy 239th Birthday to the American Flag! It's also the mumblemumbletn birthday of some guy who lives in my neighborhood and all that


Wed, June 15, 2016

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Happy Birthday, Harry. Harry Edward Nilsson III, June 15, 1941-January 15, 1994



On a Personal Note icon
Speaking of birthdays, yesterday was mine, and last night I was treated to dinner by my sister Pat and my brother-in-law Joe. It's pretty much an annual tradition. This year it was a little more poignant for me.

Six and a half months ago, on New Years Day, I posted something about how if 2016 had been an airport, I'd have went down on my hands and knees and kissed its pavement. There may be a few of you who don't get the context of that. On Dec 27 of last year I had a heart attack. The next morning I was wheeled into the O.R. for major heart surgery: a quadruple by-pass.

One artery was 100% blocked, two were about 80% blocked, the fourth was 40% blocked. It often doesn't sink in on me that I was closer to death than it seemed. My heart attack wasn't a dramatic event. I didn't even suffer chest pains, but rather, radiating pains in my back, shoulders, then my left arm. Nevertheless, the cardiologist put a stent in my main artery in order to get me to surgery the next day.

It's not an exaggeration to say I could have easily died on December 27, 2015, had I not had enough information about the varying symptoms of a heart attack. I was home alone and had I not realized what was (or might be) happening until it had progressed to chest pains, which I am sure it would have eventually, I might not have made it. I might not have been able to make the 911 call, or the ambulance may have arrived too late, had I still been able to call.

Statistics suggest that for someone who suffers a heart attack in my situation, being alone and not in a hospital, even with eventual treatment by paramedics, just shy of only 11% survive. The survival rate triples if there is a bystander who can administer CPR and/or use a portable AED (Automated External Defibrillator).

So, I guess two points here: 1) I need to remember how fucking lucky I am to be alive; 2) it behooves everyone, ALL OF YOU, to know if you are at any risk of heart disease and if you are, be educated on the symptoms of a heart attack.

Oh, and, 3) know CPR and how to use an AED unit, 'cause you just might be one of those by-standers someday.

Here are a couple websites that can inform you about all things heart disease related:

And here's one for the by-standers:

But the good news is that I made the 911 call in time. And this year's birthday was a lot less taken for granted.


RIP RIP_Henry_McCullough, July 21, 1943 - June 14, 2016
Do you remember the lead guitar break in "My Love," by Paul McCartney & Wings? It's close to a classic guitar solo in a ballad. The musician, Henry McCullough, played that solo off-the-cuff while they were doing a live take with an orchestra. I believe they did a couple more takes, but it was that first one that made it into the finished product.

Mr. McCullough died yesterday.

Click here to read what Paul had to say.



Sat, June 18, 2016

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Pic of Paul live on stage, playing his Heoffner bass guitar and singing at a mic -- with the text "Happy Birthday Paul McCartney. Seventy-four years old on June 18, 2016 and still one of the hottest concert tickets in the world



In the audience - Not in the audience animated gif icon
Tomorrow I will be in the audience for The Lion King at The Schuster Center. In the cast, as I wrote before, is the uber-talented Ms. Taprena Augustine whom I had the pleasure of working with in Caroline, or Change at HRTC in late 2011. Again, other local Caroline peeps and I watched her rock the roll of Shug Avery in a tour of The Color Purple that came through Springfield, Ohio at The Kuss Auditorium.

Unfortunately, I forgot when I bought my Lion King ticket for June 19 that the reading for the Ohio Playwrights Circle was at the same time. So I will miss that.



Sun, June 19, 2016

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Father



In the audience icon
Today:
The Lion King at
The Schuster Center.



TODAY:
Ohio Playwrights Circle - Reading of new play ABIDE IN ALL THINGS by Karen Wrighter at The dayton Theatre Guild, Saturday, may 7, 2016 at 7:00 pm - admission is free
The write-up about the play reads:

This story of true love is set in 1591 in Timbuktu. (A city on the edge of the Sahara in what is now Mali). The play focuses on the lives of three women in this Islamic, African city, renowned for its wealth and scholarship. The play is a mixture of light and dark. Despite what can be crushing obstacles, each of the six characters, 3 female and 3 male, seek love.

Abide In All Things is directed by Saul Caplan and is performed by Pamela Byrd, Franklin Johnson, Terry Matthews, Tia Seay, Nabachwa Ssensalo, Naman Clark, & Garry Pritchet



Mon, June 20, 2016

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THE LION KING AT THE SCHUSTER CENTER:
xxxx
In the audience icon
xxxx
Not a bad seat for the show. Row J, fifteen rows back.

Well, saw Disney's The Lion King yesterday afternoon at The Schuster Center. It certainly does live up to the hype. Lovely music, magnificent puppetry, and great performances.

As an extra treat, actor Ben Lipitz did his five-thousanth performances as Pumbaa. Got to shake the man's hand afterward and congratulate him in person. Very cool!

Oh, and I got to see the amazing Taprena Augustine on stage again!

Also, if you think about it, there's a bit of a fatherhood theme woven deeply into the story, so Father's Day was a good day to see the show.



Fri, June 24, 2016

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fb post -- "So it looks to me like there's a lesson here today. Don't be so foolish as to say to yourself in November, 'Ahh, it's a lock. No need for me to vote.' Fact is, yeah, yeah there is."



By the Way
Here's a video of what I shared in the last post, about actor Ben Lipitz being recognized this past Sunday afternoon as it was his 5000th performance in Disney's The Lion King, complete with his Father's Day surprise.




THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.
DTG Assistant Director icon
I think I've vaguely alluded to this but not actually outright stated that I have volunteered to AD (assistant direct) The Unavoidable Disappearance of Tom Durnin, by Steve Levenson, for Director Marjorie Strader.

This will be our third show of the upcoming 2016/2017 season. Actually, I could easily audition for this show as there are a couple roles, including Tom Durnin, that I am good for, but I want another credit as an AD; it's been a while since my last stint AD'ing at The Guild, which was for I Never Sang for My Father in 2006, a decade ago. My reason for wanting to get another AD credit is that I submitted a play to the Playreading Committee for the 17/18 season, and if they choose it for the season I am throwing my hat in the ring to direct it.

I, of course, in a classic case of "getting ahead of myself," am already plotting out specifics for directing it, premature as that action may be.


THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Last night sound design for The Last Lifeboat officially began in earnest as I began to scrutinized the script and catalogue obviously needed and potential sounds and music.


DTG Promocast Production logo
Copyright © Symbol icon
Every summer, as the first show of the DTG season approaches, I tell myself that I am going to get a jump on things and contact all of the playwrights for the whole season, or their representatives, to request clearance to use dialogue in the promocast DV movies, and that I'll get it all done by the end of summer. Then, I don't do it. Let's see if I can follow through this summer, huh?


In the audience icon
Tuesday evening I saw Master Class, by Terrence McNally at The Human Race Theatre Company, and liked it. Strong performance by Mierka Girten as Maria Callas. Really nice supporting performances by Blake Friedman, Cassi Mikat, and Jeremy Carlisle Parker as the students in class, all with impressive vocal abilities. And Sean Michael Flowers made a rare stage appearance as the class pianist; he was also the musical director for the production. As well, Director Scott Stoney appeared on stage as the stage hand.

There seems to be at least a minor controversy, though "controversy" may be too strong a word, surrounding the production. Ms. Girten was diagnosed with Multiple Sclerosis (MS) in 1992, a disease that affects the brain and spinal cord. It often effects memory, especially short-term memory and this is one of the symptoms Ms. Gorten experiences. As the result, as Kevin Moore, President and Artistic Director of The Human Race, said in his curtain speech, "certain accommodations [were] made for her" during the production.

Ms. Girten had the script in a binder that was a prop for Maria Callas as well as on index cards so that she could refer to the script during the performance whenever needed to jog her memory. I found that I was able to overlook this and found Ms. Girten's performance to be a strong one, despite this anomaly. I have seen actors on stage during performance with the script in their hands a few times in the past when they were last-minute replacements who did not have time to get off-book (have all the lines memorized) and in all the cases the actors were skilled enough to make me ignore soon into their first appearance that they had it in their hand. That was the case here, too.

Here is an article that discusses Ms. Girten as an actress with MS, titled "Mierka Girten, Actor and Founder of Mookie Jam Foundation," Mookie Jam being a Chicago-based, not-for-profit organization that helps artists with MS.


In Concert icon
Sheryl Crow in Concert at The Fraze Pavilion, Kettering, Ohio, June 30, 2016
Less than a week from now, next Thursday, to be exact, I see Ms. Crow for the second time. The first was the summer of 2003, and it was one of the last straws to break the camel's back and get me back to acting, if you can believe that.

ONE ON ONE tour - Paul McCartney - US Bank Arean, Cincinnati, OH - July 10, 2016
And in just a little more than two weeks, I see Sir Paul for the TENTH time!



Sun, June 26, 2016

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DA DA DA DUM SNAP SNAP:
In the audience icon

Yesterday I saw the matinée of The Addams Family at Beavercreek Community Theatre. It was a fun and enjoyable production.

This was something I considered auditioning for right before I decided I wasn't ready to get home and to bed late (11:00 is late right now for me). I even went as far as buying the perusal copy of the libretto before I decided I should wait until I am better recovered to audition for things.

Well, any role I would have been good for had actors closer to type in them anyway, so the production got along just fine without me.

CONGRATULATIONS! Congratulations to Director Doug Lloyd!
And congratulations to his cast:

    Brad Bishop as Gomez Addams
    Becky Barrett-Jones as Morticia Addams
    Eric Neuenschwander as Uncle Fester
    Camille Millar Wednesday Addams
    Tyler Smith as Pugsley Addams
    Dawn Roth Smith as Grandma
    James Wright as Lurch
    Michael Shannon as Mal Beineke
    Lynn Vanderpool as Alice Beineke
    Ben Douglas as Lucas Beineke

    The Addams Ancestors:    Kurt Cypher
    Jeffrey Murphy
    Krystal Cockerham
    Amanda Carter
    Tori Kocher
    Sandra Hyde
    Faith Whitt
    Shalie Hull
    David Thomas
    Rob Breving
    Jarrod Davis
    Gavin D'amico




Albums cover for Sheryl Crow's 2008 DETOURS -- her in a white top and white slacks, leaning against a wall with an acoustic guitar leaning against the wall next to her
On a Personal Note icon
Sheryl Crow in Concert at The Fraze Pavilion, Kettering, Ohio, June 30, 2016

So as the Sheryl Crow concert is coming up I realized that I had not heard some of her latest releases. I opened my iTunes and downloaded the two studio albums I did not already have by her. One of these is the one to the left, 2008's Detours.

Okay. So this album came out eight years ago and I missed it. Though it wasn't a juggernaut commercial success it was received well critically and was nominated for a Grammy; I understand why the latter two are true. This is a good stuff that I wish I had been on top of when it released in 2008. Well, I got it now.

There's a song on it called "Motivation" that I pick as a great opener for her show. But as I have seen the playlist for the new tour, it doesn't seem she does anything off Detours, which is too bad because the material is as strong as any in her canon.



Wed, June 29, 2016

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THE FIRST PURE McCARTNEY RECORDING:
Paul McCartney logo -- Extreme close-up of his eyes behind his autpgraph signature
Album cover for Tim Christensen's 2013 PURE McCARTNEY -- him and the live band in black & white with the cover art fashioned after the art for the cover of the Paul McCartney album, RAM
I was hanging out on facebook Sunday afternoon and a link to a full-length concert movie came up in my news feed posted on one of the Beatles pages I follow. It was a movie on youtube of a 2012 concert at Vega, a Copenhagen concert venue.

The concert was a one-time tribute to Sr. Paul for his seventieth birthday, performed by Danish recording artist Tim Christensen and American musicians Mike Viola and Tracy Bonham, and also featuring Christensen's band, The Damn Crystals.

According to the Wikipedia page for the project, to which the graphic of the album cover is linked, Christensen and Viola discovered that Paul's second solo album, Ram, is their mutual favorite album, thus the tribute concert was conceived and they started the set list for it with a virtually faithful cover of the entire Ram album, each song in order as presented on the original recording.

The approximate second half of the concert was other music from Paul's post-Beatles career up to, and including, the hit, "Coming Up," all also performed faithfully close to Paul's original performances. Full disclosure here: "Coming Up" is not on my list of favorite songs by Paul, but I don't hate it, and it's given a good presentation in this tribute concert.

Seriously, this whole concert is a great jam! I started watching it and I had to watch the whole thing. Christensen and his compatriots just simply kick ass! I downloaded the album from iTunes only minutes after I finished watching the concert. There's a DVD out there but it seems to be difficult to get hold of. I will keep trying.

Click here to see the full concert movie on youtube -- while it's still up. But be warned! If you're much of a Beatles or McCartney fan, you may be compelled to watch the whole thing in the first sitting.

I do note, of course, that the album from 2013 bears the same title as the new collection that Paul, himself, has curated of music spanning his post-Beatle carrer. I'm not wholly convinced that's a coincidence.


Film Dayton icon
For the first time in months I attended the film dayton film connections meeting at Think TV Channel 16. The guest speaker was Aymie Majerski, a movie producer and the owner of Barking Fish Entertainment, a local production and content development company for film, TV and new media.

Ms. Majerski and her business has been involved as producers for regional and national commercials as well as such features as 4192: The Crowning of the Hit King, a documentary about the hit-winning record of Pete Rose while he was with Cincinnati Reds, and the suspense/thriller, 7 Below, with Val Kilmer attached.

Her presentation was informal and she talked mostly about development of projects with some focus on fund-raising and the associated pitch. The big lesson I learned was if and when I direct and produce a movie with a budget -- modest as it'll probably be -- I need a co-producer who knows how to fund-raise, and I'll need a good line producer, if he or she is not the same person as the other.

Another thing to note is one of Ms. Majerski's mottos:

    The two N's --
    "Network" and "Never give up."

The first of those, I must admit I am not as good at as I ought to be, that being more or less a tragic understatement: the other, I suppose more or less is a reality of my life.

(He says at mumblemumble-eight years old)



Thu, June 30, 2016

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Flashing 'TONIGHT'

Sheryl Crow in Concert at The Fraze Pavilion, Kettering, Ohio, June 30, 2016




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