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

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"'We hold these truths to be self-evident,' they said, 'that all men are created equal.' Strange as it may seem, that was the first time in history that anyone had bothered to write that down. Decisions are made by those who show up. Class dismissed."
-- President Josiah Bartlet, (as written by Aaron Sorkin), The West Wing, Season 1: episode 22 "What Kind of Day Has It Been?"

painting of the Continental Congress

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







~ ~ Sheryl live ~ ~
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Sheryl Crow in Concert at The Fraze Pavilion, Kettering, Ohio, June 30, 2016
In Concert icon

As you will know if you are one of the five who have actually visited this silly blog before, and most especially, recently, Thursday night I saw the incredibly talented and entertaining Ms. Sheryl Crow in concert at The Fraze.

I enjoyed her and her band's performance greatly, but I do have what I am sure is not an uncommon complaint: her set, including the encore, was less than ninety minutes, coming in at around seventy. The last time I saw her, which was in the summer of 2003, it was a good two hour show. That's what I'm used to from my rock stars. Hell, McCartney is good for 2:45 from opening chord to the last wave goodbye to the audience after the last encore.
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Sheryl walking out on stage at the top of the show
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Obviously Sheryl believes in the motto, "Always leave them wanting more," well, mostly. The only one of her hits that wasn't in the set was "Leaving Las Vegas." In fact, with the exception of a few popular, well-known album cuts, as well as two fine covers as her encore, that's what the show was, her hits -- it was essentially a Greatest Hits show.

In fact, she completely ignored two of her albums: 100 Miles from Memphis and, what I just recently purchased, became exposed to, and what has quickly become my favorite album by her, as is heavily suggested by my June 26 blog entry, her 2008 offering, Detours. She only does one song from her latest album, the country leaning, -- more so than usual, that is -- Feels Like Home, that being the song "Best of Times."

There was an opening act. I was under the impression that Rascal Flatts was touring with her, and that may be true, but if so, they sat this one out. The show was opened by a Columbus, Ohio due named, Mama Drama. They did about thirty minutes and I was quite impressed. It was just David Eidelberg on acoustic guitar, with some effects pedals, including a looping pedal, to aid him in creating a nice, full sound. Heather Pennington is the vocalist, and that lady can wail. They did a wonderful version of "Me and Bobby McGee." They don't seem to have a proper web page, but they do have a facebook page: Mama Drama Acoustic Duo.

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best dressed roadie ever
One other note, one of her roadies was unmistakably the best dressed roadie I have ever seen on a stage, clearly confounding the stereotypical "roadie look."

He also was a bit older than what you, or I, anyway, would expect.

The man was in a suit and tie, as you can see from the photo to the left.

I had to get a few pics of this guy.

During the course of the show, of course, Sheryl introduced each of the band members. I didn't bother to write those in my iPhone Notes app because I made the mistake of assuming that I would find them on-line somewhere, later. If the band line-up for this tour is out there, I don't know where it is. I tried about every combination of search terms I could think of and could not find the list anywhere. I did note the song line-up, however. Here is Sheryl Crow's set list from June 30, 2016 at The Fraze Pavillion:

"Everyday Is A Winding Road"
"A Change Would Do You Good"
"All I Wanna Do"
"My Favorite Mistake"
"Can't Cry Anymore"
"The First Cut Is The Deepest"
"Strong Enough"
"Run, Baby, Run"
"Steve McQueen"
"The Difficult Kind"
"You're an Original"
"Best of Times"
"I Put Your Picture Away"*(EXCERPT)/"If it Makes You Happy"
"Soak up the Sun"

encore:
"For What It's Worth (Stop, Hey What's That Sound)"
"Rock & Roll"

And here are some songs I wish had been in the set, in no particular order:

"Motivation" *(MY PERSONAL CHOICE FOR THE OPENING SONG)
"Leaving Las Vegas"
"Solidify"
"Maybe Angels"
"Superstar"
"Oh Marie"
"The Book"
"There Goes The Neighborhood"
"Maybe That's Something"
"Members Only"
"Lucky Kid"
"Hole In My Pocket"
"Shine Over Babylon"
"Love Is Free"
"Peace Be Upon Us"
"Gasoline"
"Out of Our Heads"
"Now That You're Gone"

Adding at least a large portion of these would have rounded the show to a length that would have been far more satisfying to me -- of course, I realize that if you aren't a Sheryl fan, many or all of these titles may mean nothing to you.

more photos from the night:
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Drama Mama -- sorry it's not a closer shot
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the audience
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the audience, again
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another look at the best dressed roadie ever
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Next Sunday Night!:
ONE ON ONE tour - Paul McCartney - US Bank Arean, Cincinnati, OH - July 10, 2016


Thu, July 7, 2016

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xxxx


Fri, July 8, 2016

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MINI VACATION

ONE ON ONE tour - Paul McCartney - US Bank Arean, Cincinnati, OH - July 10, 2016
So any of you five will know that this Sunday I see Sir Paul in concert, in Cincinnati, for the tenth time. I have decided to go ahead and make a weekend of it. I'd already thought about going to the Cincinnati Zoo during the day on Sunday. I'll be buying a ticket today, and I will go to the zoo during the day on Sunday. I'd also contemplated getting a hotel room Sunday night so I didn't have to drive back home from Cincy after the concert. I went ahead and booked a hotel room for both Saturday and Sunday night. I'll also be buying a ticket today to the Newport Aquarium for Saturday. I'll probably drive straight from home to Newport, then, afterward, drive up to Sharonville, where my hotel is, and check in there. That way I can get a good night's sleep and still get to the zoo in time to have a nice day there and still get a good meal and get to the McCartney show early. This little mini vacation is gonna cost me a bit more than I'd planned on for the Paul show, quite a bit more, like more than $300 more, and that's not counting the original $282 for the Macca ticket. But, you know what? I don't care. This weekend's going to cost me in excess of $700, all totaled, and I don't care. I'm just gonna:

Let It Go & Chill Out



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

Auditions are concluded and Director Jeff Sams has his cast:

The Cast of The Last Lifeboat

CHARACTER
           ACTOR
Actor 01:
J. Bruce Ismay

           Matt Lindsay
Actor 02:
William Randolph Hearst,
Thomas Andrews, and others

           Mike Beerbower
Actor 03:
Policeman, Sailor, Senator Fletcher, etc.

           Zach Katris
Actor 04:
Captain Smith (of the Titanic),
J.P. Morgan, Thomas Ismay and John Jacob Astor.

           Gary Thompson
Actress 01:
Vivian and other female characters.

           Cassandra Engber
Actress 02:
Florence Ismay and others.

           Heather Martin
Actress 03:
Margaret Ismay and other female roles.

           Kerry Simpson
Actress 04:
A variety of female roles
           Heather Atkinson

SOUND DESIGNING ICON
Meanwhile, back at the ranch, more steps have been taken in sound design for the show.



Sat, July 9, 2016

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MINI VACATION

And so it begins
Shortly I head to Northern Kentucky, way northern, as in right across the Ohio River from Cincinnati, to the Newport Aquarium. I should be able to spend a few hours there. I've scoped out at least one nice Thai restaurant that I may drop into on the way to my hotel room in Sharinville, after the aquarium. Although I might visit there tomorrow between the Cincinnati Zoo and Paul's concert instead. I suppose it'll be the caprice of the moment.

And tonight, in the hotel room, I might even, most probably will, do a little work on sound for The Last Lifeboat. I've packed my production script and will be taking my lap top.



Sun, July 10, 2016

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MINI VACATION

Newport Aquarium
My trip to the Newport Aquarium yesterday was very nice, especially the sharks and penguins -- and the sea horses.

And the frogs and toads....

....The snakes....

....Pretty much all of it.

Oh, yeah, the Brio Tuscan Grille where caprice brought me for lunch after the aquarium.

I took a ton of photos, from which I will share a decent amount here. I spent the late evening last night sweeting them as well as discarding some that didn't turn out. Spent this morning processing some for here. I'll post all that later, maybe tomorrow or later this week. I don't have time to code it all into HTML right now. Got to head out of the hotel very shortly for my day today, with the first stop, of course, being the Cincinnati Zoo

And then, of course....:

TONIGHT

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

By-the-way, I got turned around on the way to Newport Aquarium and ended up driving past the back side of US Bank Arena. Didn't have a chance to take pics, 'cause my camera was put away and my phone was busy GPS-ing, but I drove right by the Paul McCartney tour buses. It made me more anticipatory for tonight!!!!



Tue, July 11, 2016

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COMING SOON!

MINI VACATION

BEEN DOING STUFF

Newport Aquarium Cincinnati Zoo ONE ON ONE tour - Paul McCartney - US Bank Arean, Cincinnati, OH - July 10, 2016
MORE
The "stuff" I've been doing, since last we met, was, as planned, visting the Cincinnati Zoo, attending the Paul McCartney concert, then taking a leisurely, more scenic drive home that included a couple stops along the way, one being right at the start of the trip. I'll post pics of it all -- after the laborious job of culling and sweetening them as well as processing for the HTML. And of course, I'll write a little about it all. That includes, along with the pictures, more detail about the visit to Newport Aquarium. And I have a very cool story to share about the McCartney show, with pictures to illustrate that story.

And, to repeat myself, from similar circumstance here in the past: Yes, it's true that with the exception of something more review-like as per the McCartney show, this will have nothing to do with "Artful Things," but, as I have asked those other times -- Whose blog is this?



Mon, July 18, 2016

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THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.

SOUND DESIGNING ICON
Yesterday, I dropped by The Guild to meet with Director Jeff Sams about some points regarding the sound design. I laid out my basic concept, for which Jeff received well. He also gave me some more immediate needs for rehearsals coming soon, this Wednesday to be exact. There is a cotillion waltz the cast needs to start rehearsing with, and a section with dramatic underscoring that Jeff would like in rehearsals so the cast can have that layer added in for the cast to play along to as part of that section. Meeting this deadline should not be a problem. I'm thinking Mozart for the Waltz. I also need to record some voice-overs from the cast this week.

The cast was there on a Sunday because they were doing a special day-long session of an acting exercise called Viewpoints, which is a technique to build ensemble and help actors with movement on stage. The session was facilitated by Greg Hellems, who is on faculty in the Theatre department at Wright State University and also directed the very fine Human Race Theatre Co. production of The Glass Menagerie this past season.

The session was from 9:00 until about 4:30 with a forty-five minute dinner break. I didn't get there until not long before lunch, and thus I did not participate, though Greg had opened the session up to everyone on the production team beyond the cast members. For things like this I'm kind of an all-or-nothing guy. I was acutely interested but I had personal business that needed attending to so I couldn't make it there for the whole thing. You really, I think, need to be there when the session starts for something like this. I had my lunch meeting with Jeff on sound and then did stay to watch the rest of the day. I've been introduced to bits and pieces of Viewpoints in various professional acting classes I've taken with Kay Bosse, and I think, also Marsha Hanna, Brian Crowe and Carrie Ellen Zappa. It's been a while for those and I can't remember exactly which games we played.

Viewpoint is essentially a method for actors to engage in movement exercises, both on the stage space and in terms of how they move and hold their own bodies, and to do these in ensemble with techniques to make each more aware of the ensemble in general and their own individual self within that ensemble. That's a simplified definition as there is a complex myriad of benefits to the actor including tools to help the actor achieve better emotional response from his or her character in scene.

One of the things that Greg had the cast do was walk the stage imagining a grid to orientate each actor with a sense of space, topography, and architecture. I've done that one with Kay in several classes. I can't speak for when Greg introduced it Sunday morning, but when I've done it with Kay, one rule was you were not allowed to run into another actor walking the grid with you and you were not allowed to stop. If you were about to collide you were to change your course. One benefit I found from the exercise was I became acutely aware of where the other actors, also walking the grid, were.

So, one crucial point to the exercise is changing your planned direction based on another actor suddenly in the path you had mentally laid out. For me that translates into being in the moment with the emotional life of my character on stage, because the other actor's character gives me something in emotional delivery that renders where I was prepared to go no longer a viable option. I have to respond to what there is to respond to, which may not be what has happened in previous rehearsals or performances.

Sometimes, often, we're talking nuanced difference, but nonetheless, when an adjustment isn't made the resulting interplay that does not exactly work is often not lost on the audience, even if they are not sure what it is they are discerning. All they may know is they are witnessing something that seems inauthentic to them, because they don't feel they are seeing living breathing characters interacting, rather they are watching actors on stage playing their roles -- this is not a satisfying experience for the audience; it's usually not for the actors, either. I write "usually," though it probably ought just be "it's not,"

The Last Lifeboat cast was eventually released from traversing the stage in simple grid but they kept the principles of the original in their further movements. Of course, the day was about a lot more than that but I'm not going to detail that here, some of it because I missed it and don't know the details.

There are going to be some very interesting moments, especially at the end of Act I, of which this Viewpoints session will do much to inform the performance of the ensemble.



Thu, July 21, 2016

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THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Sound design is, with out a doubt, under full swing now. There's lots to do so I am simply taking care of what's in front of me then moving on. The first thing was, as I wrote before, to pick a waltz for the cottilion scene in Act I, which has been accomplished. I had suspected I would go with Mozart but it turned out that a Brahms waltz works better for the scene. We also want underscoring for a particular section of the act, and a Haydn composition fits the bill, a movement from his Symphony No. 49.

Neither of the compositions, or at least the recordings I have found, are long enough to cover the action they need to, so I have extended both through the magic of my sound editing software. I have a few other sound production tricks to enhance the dramatic impact of the Haydn underscoring, including dropping the key of the music, adding reverb at one point, and very likely putting the music into a fugue state toward the end of the scene-- unless it turns out it is overkill, which it might just do. But it's better to produce something you later decide needs pulled, than to later discover there's more work to do to add something. Ask a movie director; this is the same principle.

There's still a brief amount of a waltz for an earlier scene that needs chosen. I've sent Director Jeff Sams two mp3s of choices, with my recommendation for the better of the two.

The end of Act I needs music appropriate to the dramatic chord it goes out on, and the first couple I chose as possibilities turned out to have been composed after the historical moment that plays out at the end of the act, one, a few decades later. Both were by Bartók, and taking that as a marker, I came across a composition by him that does work.

Need a few other compositions, some that need to play during scenes, others as transitional music. A lot of the scene transitions, however, will either have other sound files beside musical compositions covering them, or will have no transition sound at all. Some will have none because the silence works dramatically, others will be because some scenes flow seamlessly into the next. I also haven't found the music to close the show and go into curtain, yet.

Beyond all that, there are a lot of sound effects to build for this. This is one of those shows where half the SFX, if not more, will be contained in just a few consecutive pages. That is going to eat up a lot of my time, coming up here pretty soon.

But......"what's in front of me to do next."

With a brief hiatus to spend a weekend at a new plays festival -- alas, only as an audience member for all six plays......this year.


In the audience icon
As I alluded to above, and as some may know from previous posts here, I elected to not audition for FutureFest 2016 at The Dayton Playhouse because I am not yet ready to commit to a rehearsal schedule, not until I have healed to the point that such stamina to do so successfully has returned. But, I will be there this coming weekend, and this will be the first time I will push the limits of my stamina.

I always have a big want to do the elbow-rubbing socializing, with the playwrights, adjudicators, and quite a few fellow FF audience members, after each festival day is done. I'm known to get much less than a full night's sleep Friday or Saturday night. Usually, I don't get to bed until certainly after midnight, and sometimes I know it's been 2:00 a.m. Let's remember that the FF day starts at 10:00 a.m. both Saturday and Sunday.

I'm always good for the after partying Sunday evening, too. I can't say that I will be able to hold up to this practice this year, but I am going to give it a shot. I will, of course, call an end to the round if it seems I am going down for the count, but I'm going to give it a shot, regardless unless it proves imprudent to keep up the behavior.

I mean, it's a tradition.



Fri, July 22, 2016

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In the audience icon Tonight:
FutureFest 2016

The posting for recounting this weekend will not be immediate. Too much going on to get it out quickly



Mon, July 25, 2016

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THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
Tonight I record some voice overs.

Later tonight, or maybe tomorrow, okay, very likely tomorrow, I start working on some challenging sound effects. It's going to be a whole lot of trial-and-error and whole lot of me yelling in frustration over the "error."



Sat, July 30, 2016

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TODAY:
2016 DAYTON THEATRE HALL OF FAME INDUCTION and DAYTONY GALA. July 30, 2016 at Sinclair Community College

Tonight I attend the annual Dayton Theatre Hall of Fame Induction and Daytony Awards Gala. To be honest, as I do believe I have expressed in the past, I have mixed emotions about this. I like the recognition of individuals who have given a lot of themselves to the local theatre arena, and I like the gathering of all the local theatre community to celebrate the richness of said local theatre community. I am less and less enchanted with the theatre awards, as I am with arts awards in general. I could go on a whole tirade about under-appreciated excellent work and overrated mediocre work, but what's the point. I have done it in the past and I know there are many who get the observation and my frustration, thereof.

Tonight, Abe Bassett, Professor Emeritus from the Wright State University Theatre Department and Joe and Marilyn Mitchell, founders of La Comedia Dinner Theatre are the 2016 inductees.

TOMORROW:
Dayton theatre Guild Murphy Awards
Then, tomorrow is the annual smorgasbord and in-house Murphy Awards for The Guild. And I am in the same place attitude-wise about this as I am about the DTHOF & Daytony Awards. I like the gathering and the camaraderie. I am less enthused with the awards part.

The only "awards" that get handed out that I really am enthused about are the volunteer recognition awards, which include the coveted DTG mugs, which are given when someone has reached a milestone of involvement in productions.


NO FB ZONE
It's just the way it's got to be right now, believe me.

I'll just go on fb to admin the DTG page, at least for a little while.

Like, perhaps until November 8, and maybe not then.



Mon, Aug 1, 2016

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THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
BIG NEWS

This news has been under wraps for a little while, but we are now allowed to let the cat out of the bag. Luke Yankee, The Last Lifeboat playwright, is attending the Saturday, August 27 performance and will give a talkback afterwards.

How cool is THAT?


SOUND DESIGNING ICON
Tonight, I have a short meeting with Director Jeff Sams to discuss some specific ideas for specific spots in the show. Otherwise, I must admit, the design has come along a little slower than I'd like, mostly because of interruptions that have demanded my attention, but I am not in panic mode, there's still time to work with room for experiments to fail.

I have as yet to get to building those SFX of the Titanic going under, but that's the next big agenda item. I still also have some particular music to harvest -- some specific music the script calls for, and some specific music for the pre-show. I pretty much have determined the intermission music. And I have yet to process the audio I recorded last Monday of various screams from the cast ensemble. The good news is that I am getting a clear idea of how I want to procede with the majority of the sound design.

This week I have no needs to stay later than my usual schedule in the office at the rent-payer, so I will get home earlier than I have the last couple of weeks, and will have that much more time to devote to work on the sound. Although, I am out-of-town at a rent-payer-related workshop on Tuesday, but I'll probably get home by 5:30 or 6:00.

One thing that is imperative: NO TV ZONE or I will inevitably be seduced by the distraction.



Daytonys - Dayton theatre Hall of Fame
Dayton theatre Guild Murphy Awards
CONGRATULATIONS!

To Abe Bassett, Professor Emeritus from the Wright State University Theatre Department, and to Joe and Marilyn Mitchell, founders of La Comedia Dinner Theatre for their inductions into The Dayton Theatre Hall of Fame.

CONGRATULATIONS!

To all the theatres, directors, performers and designers who were awarded recognition for their work during 2015/2016 theatre season, both in the general Dayton theatre community and in-house at The Guild.

CONGRATULATIONS!

To all the Dayton Theatre Guild volunteers who were recognized for their service to our fine organization.

I'll post a link that catalogues the Daytony Awards, as well as listing the Murphy Awards as soon as there is a relevant Daytony link and I have a comprehensive Murphy Awards list.


TOM HANKS AT "THE HANKS":

xxxx
xxxx
Photo Of Tom Hanks by and © William James Jones
Used by permission
Back in April, there was a dedication of a renovated building on campus at Wright State University. The building used to be the Television Center, where I took many of my production classes and worked on many production projects for my Communication major. It is now the main facility for the Motion Pictures Program, and as the photo above may suggest, it was dedicated as The Tom Hanks Center for Motion Pictures. For was rallying for "The Hanks," which I believe has caught on with or without his input.

In the above photo of The Hanks, note the building next to it. The edge of the brown building in the upper-right of the frame. That is where I work during the day; that is the rent-payer, aka: The Paul Laurence Dunbar Library. A special luncheon was hosted on the fourth floor of my workplace that day. No, I was not one of the guests. No, I did not meet Tom. I did not even see him in the flesh. I did watch a live stream of a master class, Q&A assembly that was held in the Creative Arts Center, with the students from Dance, Theatre and Motion Pictures in attendance. It was about ninety minutes and it was fun to watch. Hanks is a fun guy. There is a link to a video if it, but it's on a closed server so one has to have a password to log on -- i.e.: I could link it here, but unless you are connected to WSU, you can't watch it.

So how did this Tom Hanks Center for Motion Pictures come about? What connection does Tom Hanks have to Wright State University? Well, for one, he appeared on the festival stage as a young actor, still in college. He was a member of the Great Lakes Shakespeare Festival, based in Cleveland, and that company did a short residency at WSU in 1978. Then, a few years later, in New York City, he was cast in The Mandrake by Machiavelli. The producer was a fellow named Stuart McDowell, who would later become the Chair of the Department of Theatre, Dance, and Motion Pictures, at, you guessed it, Wright State University. Tom and Stuart have maintained a friendship over the years. Tom has been a benefactor to the program and has otherwise involved himself in capital fund raising.

So that is how and why.


RIP Jerry Doyle, July 16, 1956 - July 27, 2016
Goodbye Mr. Garibaldi, one of the many great characters on the great sci-fi series, Babylon 5, and perfectly portrayed by Jerry Doyle. I've never known much about his career otherwise, and besides that I understand he was once married to his Babylon 5 co-star, Andrea Thompson, who happens to be a fellow Daytonian like myself, the only other thing I know about Doyle is that he and I did not share political leanings, whatsoever. Still, as Michael Garibaldi, he rocked! And I have a feeling we might have been able to be friends, so long as we didn't discuss any elections.


Thu, Aug 4, 2016

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"PRESS RELEASE: PLAYWRIGHT LUKE YANKEE TO ATTEND THE AUGUST 27 PERFORMANCE 0F THE LAST LIFEBOAT":
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.

Here's the text of the official DTG announcement:
    "We are pleased to announce that Playwright Luke Yankee, the author of The Last Lifeboat, will attend the Saturday, August 27, 5:00 performance of the show at The Dayton Theatre Guild.

    "Mr. Yankee will give a talk-back after the performance. He will talk about his ideas for the play, how it came to be, and will also answer questions from the audience.

    "There are a limited amount of tickets still available for this performance, but they are going quickly.

    "Call the box office at 937-278-5993
    or visit us on-line at http://www.daytontheatreguild.org/tickets/."

SOUND DESIGNING ICON
Sound design is moving along.....


DIALOGUE CLEARANCES FOR THE REST OF THE SEASON:
DTG Promocast Production logo
Copyright © Symbol icon
OUTGOING TIDE & Dayton Theatre Guild combined logo.
THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.
LUNA GALE & Dayton Theatre Guild combined logo.
ELEPHANT MAN & Dayton Theatre Guild combined logo.
WONDER OF THE WORLD & Dayton Theatre Guild combined logo.

You five may recall that back in late June, once again, as I do every year, I declared that I would get a jump on things and contact all of the playwrights, or their representatives, for the whole coming season, to request clearance to use dialogue in the promocasts. I wrote that I'd get it all done by the end of this summer. Having already contacted and secured clearance from our first playwright, Luke Yankee, I have now initiated communication with the rest of the new season's playwrights.

One reply has already come. Yesterday, the playwright of The Outgoing Tide, Bruce Graham, graciously said, "Yes."
So YaY!

I await replies from Steven Levensen (The Unavoidable Disappearance of Tom Durnin), and Rebecca Gilman (Luna Gale), and from the agents for Bernard Pomerance (The Elephan Man) and David Lindsay-Abaire (Wonder of the World).

Actually, I haven't, technically, fully initiated the contact with Lindsay-Abaire's agent. His agent is at William Morris Endeavor and I've dealt with him a few other times for this very reason, for Mr. Lindsay-Abaire's Good People, and for works by others whom that agent represents. The routine here is to draft a clearance agreement of which I mail two signed copies to the agent. He keeps one for his records and mails one back to me in the SASE that I supply. I have written the new cover letter, now all I need to do is use a previous agreement document as the boiler plate and modify it for Wonders of the World. I should be able to get that all in the mail today or tomorrow. But since I don't shoot that video until May of 2017, I'd say I have plenty of time if I can't get it out this week. Though really there's no reason I can't get it out this week.



Mon, Aug 8, 2016

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THE WEEKEND BELONGED TO SOUND DESIGN:
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SOUND DESIGNING ICON

Full disclosure, the entire weekend didn't belong to sound design, but a pretty big chunk of it did. And, YIKES, there's still tons to do, tons of SFX left to build. In fact, I am now going to do something I was trying to avoid: I'm taking tomorrow off as a vacation day from the rent-payer. I'd already known I will need to take off Wednesday of next week, so now I am burning sixteen hours of vacation time for the show.

The idea, you see, is to accumulate as much vacation leave as possible. Six weeks worth would be great; right now that can't happen any earlier than November of 2017, and that's only if I take no more vacation leave until then, which seems horribly unlikely. Yeah, it's just not going to happen, or more appropriately, it is going to happen that I take some, more than "some."

Be that as it may, right now my present dilemma is getting sound finished by Tech Sunday which is this coming Sunday. I am not worried. It'll be done. It'll probably be wrapped at the eleventh hour, but it will be done in time.

I'm going to start attending rehearsals, beginning tomorrow night. I will definitely be there this Thursday, too, and maybe this Wednesday, depending on what I have left to build or otherwise work on.



Wed, Aug 10, 2016

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THE ELEVENTH HOUR APPROACHETH:
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Yep! Tech Sunday is only four days away. We are in the proverbial eleventh hour. Am I close to finished with the design?

The word is "closer."

I took yesterday off to work on it. Truth be told I incorporated doing my laundry into the day, but without obstacle nor distraction. I got a lot done, but I still have lots of work left. I'd thought I might be able to attend the rehearsal tonight, but I cannot.

Last night I did attend, to trial run a few music cues, including a crucial sequence at the end of Act I, which worked as well as I'd hoped and pleased our director, Jeff Sams. I also watched for timing, pacing, and the flow of scene changes. I discovered that there's a waltz that plays under a scene earlier in the act that needs to be extended further than what I had already done. I'd loved to think that will be the last time I make such a discovery, but that probably isn't true. I've not put everything to the action as of yet.

Then, it became clear that my original idea for scene transitions, and actually going into each act, has to be nixed. I'd already changed some of it; last night I came to see that what I'd wanted to do for most of the show doesn't fit the feel of the show as it is playing on its feet. The idea was to use single notes in many places and simple chords (sometimes dissident) in others, even under a few of the scenes. The notes and chords would be played on synthesized strings, either from one of mine or the Guild's keyboards, or from Garageband on my laptop. Last night I told Jeff I want to go with excerpts from solo piano sonatas, slower temple compositions from Bethoven or one of his classical siblings. Some simple violin or cello solos might work, too, perhaps a mix of all three.

Two evenings and all day Saturday, that is what's left to get this all ready for Tech Week, never mind the tweaks and adjustments that will inevitably need to be made during said Tech Week. Two evenings and all day Saturday: that's tonight, Friday night, (and Saturday) -- I am DETERMINED to make the rehearsal tomorrow night.

Two evenings and all day Saturday: What? Me worry?


AUDITIONING QUESTION ICON OUTGOING TIDE & Dayton Theatre Guild combined logo. My Cardiac Update icon
I'm not completely sure yet. I'm leaning toward it, but I'm still weighing things and measuring the day-to-day progress of my physical needs as my recovery improves. I have just less than two weeks to decide.



Fri, Aug 12, 2016

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IT'S ABOUT 10:45 PM:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON

Pluggin' along. Much has been done. Much is left to do. Still have sound to build. Have some to tweak. Have some choices still to make. Also have discovered a couple sound cues I hadn't realized I need.

But all is going well and I still am not in panic mode. These days, I'm not too keen on panic mode, anyway. Never mind that I consider tomorrow the official beginning of "The Eleventh Hour."


2015/2016 THEATRE AWARDS UPDATE:
Daytonys - Dayton theatre Hall of Fame
Dayton theatre Guild Murphy Awards

I'm not sure if there is a comprehensive list of the 2015/2016 Daytony Awards out there yet, but I do have a list of the forty-four DTG wins:

    DESIGN AND PRODUCTION AWARDS OF MERIT
    Wendi Michael: Set Design for Slow Girl
    Del Johnston: Set Design for The Trip To Bountiful
    K.L.Storer: Sound Design for The Trip To Bountiful
    K.L.Storer and Tony Fende: Sound Design for Night Watch

    DESIGN AND PRODUCTION AWARDS OF EXCELLENCE
    Carol Finley: Costume Design for All Is Calm: The Christmas Truce Of 1914
    Carol Finley: Costume Design for Slow Girl
    Carol Finley: Costume Design for The Trip To Bountiful
    John Falkenbach: Light Design for All Is Calm: The Christmas Truce Of 1914
    Jadon Bischoff: Light Design for Slow Girl
    Jared Mola: Properties for Slow Girl
    Kelly Engle and Debra Strauss: Properties for The Trip To Bountiful
    Bruce Brown: Set Design for Last Gas
    Chris Newman: Set Design for Outside Mullingar
    Kathy Mola: Set Design for All Is Calm: The Christmas Truce Of 1914
    K.L.Storer: Sound Design for Slow Girl

    DIRECTION AWARDS OF MERIT
    Craig Smith for The Trip To Bountiful
    Debra Kent for Last Gas

    DIRECTION AWARDS OF EXCELLENCE
    Kathy Mola for All Is Calm: The Christmas Truce Of 1914
    Rick Flynn for Slow Girl
    David McKibben: Music Direction for All Is Calm: The Christmas Truce Of 1914

    SPECIAL CATEGORIES AWARDS OF EXCELLENCE
    Wendi Michael: Set Dressing for Slow Girl
    Debra Strauss: Set Dressing for The Trip To Bountiful

    ENSEMBLE AWARDS OF MERIT
    The cast of The Trip To Bountiful

    ENSEMBLE AWARDS OF EXCELLENCE
    The cast of Outside Mullingar The cast of Last Gas
    The cast of All Is Calm: The Christmas Truce Of 1914

    SUPPORTING ROLE AWARD OF MERIT
    Dave Nickel as Tony in Outside Mullingar
    Dave Nickel as Lt. Walker in Night Watch
    Angela Dermer as Lurene in Last Gas
    Jack Lewis as Troy in Last Gas

    SUPPORTING ROLE AWARD OF EXCELLENCE
    Connie Strait as Aoife in Outside Mullingar
    David Williamson as Dwight in Last Gas
    Rachel Wilson as Cherry-Tracy in Last Gas

    LEADING ROLE AWARD OF MERIT
    Mike Beerbower as Anthony in Outside Mullingar
    Debra Strauss as Elaine Wheeler in Night Watch

    LEADING ROLE AWARD OF EXCELLENCE
    Rick Flynn as Stewart Alsop in The Columnist
    Peter Wallace as Sterling in Slow Girl
    Jenna Gomes as Becky in Slow Girl
    Gayle Smith as Carrie Watts in THE TRIP TO BOUNTIFUL
    Ray Geiger as Ludie Watts in The Trip To Bountiful
    Amy Askins as Jessie Mae Watts in The Trip To Bountiful
    Jared Mola as Nat in Last Gas

    DAYTON THEATRE GUILD'S SEASON'S BEST PRODUCTION
    All Is Calm: The Christmas Truce Of 1914

    OUTSTANDING OVERALL PRODUCTION
    Last Gas
    All Is Calm: The Christmas Truce Of 1914

Not a bad haul for us!

Meanwhile, here's our in-house awards, The Murphy's, for the DTG 2015/2016 season:

    BEST SET DESIGN:
    Bruce Brown for Last Gas

    BEST LIGHTING DESIGN:
    John Falkenbach for All Is Calm: The Christmas Truce Of 1914

    BEST SOUND DESIGN:
    K.L.Storer for overall 2015/2016 season

    BEST PROPERTIES:
    Deirdre Root for Last Gas

    BEST COSTUME DESIGN:
    Carol Finley for All Is Calm: The Christmas Truce Of 1914

    BEST SUPPORTING ACTOR:
    Rick Flynn as Curtis Appleby in Night Watch

    BEST SUPPORTING ACTRESS:
    Rachel Wilson as Cherry-Tracy in Last Gas

    BEST ACTOR:
    David Shough as Joseph Alsop in The Columnist

    BEST ACTRESS:
    Gayle Smith as Carrie Watts in The Trip To Bountiful

    BEST ACTING DUO:
    Jenna Gomes as Becky & Peter Wallace as Sterling in Slow Girl

    BEST DIRECTOR:
    David Shough for Outside Mullingar

    MUSIC DIRECTION:
    David McKibben for All Is Calm: The Christmas Truce Of 1914

    BEST ENSEMBLE:
    The cast of All Is Calm: The Christmas Truce Of 1914

    BEST SHOW:
    All Is Calm: The Christmas Truce Of 1914

CONGRATULATIONS!

Like I said right after the events, congratulations to all the performers and production team award winners who helped make the 2015/2016 season another great season at The Guild, and further to all the performers and production team award winners for productions at all of our neighboring theatres in the Dayton area, for their wins at the Daytonys and at each theatres' own awards ceremonies.



MINI VACATION
July 9-11, 2016

From Kentucky to Liverpool & beyond
(or, a lot of ado about much less)

It's been over a month ago, I know. And let me offer my apologies to those with short attention spans. This entry is a long one. There're probably too many words and lots of "selected" photos from the weekend. I've been writing here-and-there on this one since it was over -- technically since before it was over. Not sure how many people will ever read all of this, but I'm sure some who do may find it an excessive recounting of my little trip.

Oh well.

So saddle up, if you're going to give this whole thing a read.

To catch up anyone beyond the five regular visitors to this blog thing, back in April I bought myself a ticket to the July 10 Paul McCartney concert at the US Bank Arena in Cincinnati, Ohio. Shortly after I bought the ticket -- for my tenth Macca show, may I add -- I thought, I ought to check out the Cincy Zoo too, whilst I'm down there. I got all day before the evening performance. It's been a very long time since I've been to the Cincy zoo. Somehere along the line I began to contemplate spending at least Sunday night in a hotel, rather than driving back home that night. It is only about an hour's drive, but as "the five" may know, while my recovery from my heart attack and subsequent surgery is coming along more than just satisfactorily, I still am getting tired a bit earlier in the evening than I used to -- though I am sure that will change with time. So, the Sunday night stay-over was locked in pretty early.

Then, a few weeks later, I saw a TV ad for the Newport Aquarium, right across the Ohio River from Cincy. I've never been there, I thought to myself. Then I thought, Hey! I can add that to the trip. I'll head down Saturday and visit there then spend Saturday night in the hotel and do the zoo and McCartney on Sunday!

And that is what I did.

In this blog entry, I'm probably making a bigger deal of the weekend than it really was, but, ya know what? I don't do stuff like this weekend enough, so it sort of IS a big deal on a personal level. Maybe I ought to start doing more stuff. Somebody mentioned Hocking Hills the other day. I know I was there as a wee little tyke, but I have no memory of it. Seems like a good road trip before the summer is gone, no? Meanwhile, here's the recounting of my little July 2016 mini-vacation:


Newport Aquarium

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My goal for Saturday morning was to leave my humble abode by 9:00. That, of course, did not happen. I'm pretty sure it was after 10:00, but it must not have been much after that since I know I stepped foot inside the Newport Aquarium around 11:30. And let's not forget, those who read previous entries, that I also "got turned around" on my way, which ate up a good ten-to-fifteen minutes in addition to the travel time.

Here's what happened: actually made it to the Aquarium, but Siri's GPS was telling me the last turn was onto "Aquarium Way." What I saw was a driveway onto the premises and then, a little bit further, another road. The assumption I made was that the road was "Aquarium Way," that the driveway, which didn't really seem to lead anywhere was for deliveries or something. I was incorrect. The road led to a bridge back across the Ohio River into Cincinnati.

As it so happens, it led right into the complex with the Great American Ball Park and US Bank Arena. Following Siri's directions back across the river took me to the back side of the arena. That's when, for those of you who read that post, I drove right by all of McCartney's tour busses. I would have taken a picture, but my camera was put away and Siri was busy on the iPhone.

Well anyway, second time around I turned onto Aquarium Way and found it led to the parking garage under the Aquarium, that's actually for the whole Newport on the Levee complex of stores, restaurants, and such, of which the Aquarium is a part. The Newport Aquarium is really a pretty enjoyable place. I must admit, it was not the place of granduer that I expected based on the advertisements I've seen over the years, but still, not at all a disappointment.

Afterward I dropped into the local Brio Tuscan Grille which is right next to the Aquarium. There's actually one close to where I live, but I've never been. Had myself the Pasta Pesto with Torta di Cioccolata as the evil dessert. Then I went a little bit north to my room at the LivINN Hotel in Sharonville. Even managed to get in some time at the hotel gym Saturday evening.

So here's a nice sampling of the photos I took at the aquarium, with some comments being rather vague because I don't really remember what some of these particular sea creatures are; still, here are the pics:
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That's one big-ass fish bowl!
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That's one big-ass fish!
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Cool tunnel under a really big-ass aquarium at the Aquarium.
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Sea horses.
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If I remember correctly, this is not a shark, even though it looks like it might be.
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Turtle.
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Despite appearances, I was not at Jurassic Park.
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Blowfish? Maybe?
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Frogs.
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Small stingray -- at least it looks like one to my untrained eye.
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Piranha.
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Tortoise.
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Some kind of lizard.
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Aligator.
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Green aligator.
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Green lizard.
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Posing lizard.
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Jelly Fish.
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Scuba.
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Shark!
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Sharks & little girl.
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SHARKS!
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Penguins & zoologist.
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Penguin under water.
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Street musicians, busking.
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Cincy from Newport on the Levee.
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Brio Tuscan Grille.
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Pasta Pesto.
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Torta di Cioccolata -- EVIL!, I tell you!
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A view from the Brio patio.
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Next time I'm there, I'm going to have to check out Naked Chopstix Sushi Pan Asian Food & Bar. Though, this, too, is a chain, so I might end up giving it a try some place else, which would have to be one of the three Indiana locations.
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Another view from the Brio patio.
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The Funny Bone comedy club.
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Across the river, the Cincinnati Riverfront sports complex, which includes, US Bank Arena.
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On the Newport, KY side of the river, the band Icon X plays a gig as part of a river fest.


Cincinnati Zoo

I did some math: the last time I was at the Cincinnati Zoo was in the fourth grade, in the spring of 1969. For you playing at home, that's forty-seven years ago. To be honest, I barely remember that experience. I remember that one of the lions puked, but other than that, I don't remember much. I am sure the Cincy Zoo has changed a lot in four-plus decades, but I couldn't tell you how or by how much.

Got there Sunday morning, shortly after it opened, which secured me a coveted spot under the carport awning in the zoo lot on Vine St across from the park.

I spent a few hours at the zoo, from maybe 10:30 until about 1:30 or 2:00. I'm not sure I hit every animal exhibit, but I covered much, probably most, of the park. There was a lot to see, and I took way more photos than you see below, just as I took way more at the aquarium than you see above. (Just like I took way more than you'll see for McCartney, below, for my travels home, below that, or for the eventual FutureFest 2016 posting that will be up "shortly" - (my definition of shortly)).

That Sunday was a hot, sunny day with good lighting to take photos, but the heat also meant that many of the animals were in the shade, and a lot of those were asleep. I do realize that many of these animals, like the big cats, sleep all day long as their natural behavior, though the African lions, as you can see above in the banner I created from a pic I snapped, were active. Though I did take a photo , which I haven't included here, of a couple lionesses in a different enclosure that were sleeping on a wooden platform. Still, despite the heat, the shade, the slumbering, managed a lot of good shots.

My one brief statement about the Harambe incident:
Of course, I went to the gorilla enclosure. What I observed is that from the fence to the drop-off to the mote is not really a long distance, whatsoever. I can't speak about the fence that was up when the little boy got under it and scurried toward that drop-off, but I can speak to how quickly he could make the trip: the key word is "quickly." From the beginning I was impatient with those who immediately jumped on the let's-trash-the-mother's-parenting-skills bandwagon. These people reacted and pontificated with self-superiority without much information, certainly not enough. All the witnesses, you know, the one's who were there, so actually know what they're talking about?, they all defend the mother. Well, I saw the location, and I can tell you with authority, that it would be easy for a four-year-old to make that trip in a moment. A point that I made a few times on Facebook is that, though I do not have children myself, I have plenty of friends and relatives who do; how often have I seen a small child manage to get away from a very good parent? A Lot. A few of those times a tragedy came very close to happening. Fortunately I have never witnessed a tragedy; that doesn't mean they could not have happened. And call these people whom I know are good parents, bad at it -- do it to my face. That's it. That's all I have to say on this. Which means: email me with an argumentative comment and I will not respond.

Okay, I'm off my soapbox now.

Needless to reiterate, my zoo trip was a good start to a great Sunday. So now it was on to a late lunch, then a living legend. The thing is, it was still early afternoon; I had the time, so I drove back to Sharonville to catch a shower at the hotel. I had been walking around in a hot sun for a few hours, after all.

Here's a sampling of zoo photos I took, again with comments, explicit or vague, as the case dictates:
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The entrance.
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A great method for zoo patrons to cool off; or -- a wind fan from a Hollywood movie set. You decide.
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Giraffes.
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The King.
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Gazelles(?)
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Meerkat.
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Polar bear.
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Orangoutang.
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Gibbon.
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Chimpanzee.
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Baby chimpanzee.
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Silverback gorilla.
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Important information to know.
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Cougar.
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White tiger.
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I think this might be a caiman.
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Big lizard.
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Big-ass sea turtles. These are adolescents. Interesting fact: the zoo staff do not yet know what sex these are. These turtles don't reveal their sex until they are about seventeen or so.
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Japanese macaque
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Warthog. No, I don't think this is Pumbaa.
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Capybara.
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Horse. Not sure what species or breed. I don't think it's any of the North American varieties.
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Elephant.
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The advantage of getting to the zoo earlier is you can park under the carport and keep your basically all-black interior at least out of the direct beating summer sun.


Paul McCartney One On One Tour - US Bank Arena, Cincinnati Ohio, Sunday, July 10, 2016

#10!

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US Bank Arena -- formerly, The Riverfront Coliseum, where I first saw Paul, with Wings, in May of 1976.
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Some of Paul's tour buses. The same ones I passed the morning before on my way to the Newport Aquarium.
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Best friends.
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The arena begins to fill.
Yep, for those not already aware, this was my tenth attendance at a Macca show! Here's how the second half of my Sunday went, post-zoo:

After my afternoon shower to get the sweat of the zoo off me, I went from my hotel room in Sharonville to Mariemont and Mango Tree Thai & Sushi, where I had Yellow Curry Chicken with a Tuna Tataki appetizer.

The restaurant was not what I'd anticipated. I'd expected at least a low, high-end establishment in a stand-alone building, with a dinner price tag of about $30. What I got was a small restaurant in a strip-mall with a dinner price tag of about $30 -- before the tip. That's not to say that it wasn't a fine meal that lived up to the on-line rating and rave testimonials, about the food and the service. So, I made a good choice picking this out, as I planned my weekend, as a Sunday afternoon stop.

Thing is, the Google page gave me the wrong time for the start of the dinner seating. It said, "12-noon," but it was actually 4:00. Having driven more than twenty minutes, and having had my mind set on eating there, when I got there at about 3:30, only to find I was too early, I simply sat in my car -- motor and AC running, of course, checking facebook on my iPhone as well as starting a little bit of this mini-vacation blog entry on the Notes app.

As I look back on those words I wrote I see one thing to use in this actual blog entry, the fact that Mariemont is where I shot a US Bank commercial a few years back when I was still with PCG Talent Agency. Well, anyway, I got in the door at 4:00, their first afternoon customer, and had a very nice late lunch, or early dinner, whichever. Then it was on to US Bank Arena and Sir James Paul McCartney.

I got to the Riverfront sports complex early enough to get a "good" parking spot in a close parking garage, on the second floor, a close walk to the arena. After the show, however, the "good" part became questionable, as the traffic inside the garage, was so heavy, I could not back out of my spot and join the line. I actually just got out of my car and walked down to the street for about fifteen minutes to let the herd thin enough so I could get out. When I had pulled in, I'd thought how it might not be a bad idea to back into the spot, but did not heed my own wisdom.

On my walk to the arena, I passed those McCartney tour buses I'd driven by the day before when I got lost on my way to the Newport Aquarium. The day before, I'd recognized them immediately, as I have seen them before, such as at the Chicago show, in 2014. I took the photos on Sunday before the show that I couldn't take the morning before. Also took some pics of his semi trucks.

When I went around in front of the arena to snap a few shots of the front of the building, I ran into a lady from Kentucky, Betty Ann Allen, who had a cast on her right forearm. With her was her granddaughter, Emily. You'll see pictures of them below. Emily had a sign to hold up during the show, as many fans do. Her's read: "Paul, Please? Sign my nana's cast and she will buy me a new car!" Betty Ann had a sign that said: "I'm Nana. Beep! Beep! Beep! Beep! Yeah! It's true! She's sweet 16." I asked them if I could take a picture and told them they had a good chance of this coming true because Paul loves things like that.

Toward the end of the show, Paul did a little routine, which he usually does, talking about how he tries not to read the signs because he's trying to concentrate on the words he's singing, but can't help himself. Then he mentioned several of the signs and what they said. Emily's was one of those he talked about. I could then see where they were seated, across the arena from me, because he pointed toward them and then Emily waved the sign. So when someone from the tour came and took them back stage during "Yesterday" at the start of the encores, I saw it. Halfway through the encore section, they were brought out on stage, along with a pregnant couple who wanted him to help them reveal the sex of their soon-to-be child. It's a boy, by the way.

After he signed Betty Ann's cast, he told Emily, "You got your car." In a news account, Betty Ann said he said, "There's your car," but my memory is that it was, "You got your car," though I guess it makes little difference. Click here for that TV news account. By the way, the reporter says that no one expected it to happen -- WRONG! I did!

Back to earlier now, a few minutes after I met Emily & Nana, I met the two young ladies pictured up in the column on the right, who were behind me in line to get in. They had signs saying they've been best friends for seven years because of Paul. They explained to me that they struck up a friendship in, I believe they said, the eighth grade. One had been wearing a McCartney t-shirt and so they started a friendship off their mutual fandom for Sir Paul. I also thought they had a decent chance of getting on stage, but it did not come to be.

For those who don't know, I went to see Sheryl Crow in concert just a few weeks back. As I stood then in the courtyard at The Fraze Pavilion watching other concert goers milling around and newcomers arriving, it struck me that the mean average of the ages was higher than the last time I saw her, which was in the summer of 2003. Then I realized, well, yeah, she's been around for a while. There were few people in their twenties, and I don't think I saw one teenager. There are likely a lot of teens and twenty-somethings who have no clue who she is or, at best, barely do.

Now, Paul's been around a bit longer, more than thirty years longer. I think Sheryl's first real hit was, "All I Wanna Do," which peaked at #2 on the Billboard Hot 100 in 1994, as opposed to Paul's first big hit when he was with that one band from Liverpool, "Please Please Me," which reach #2 on the U.K. Charts in 1963.

Well, besides the aforementioned best friends, there were many others their age, somewhere around 19 or 20 years old. There were, as always, teens through septuagenarians, excluding the man of the evening. Actually, later, when I got to my seat, there was a mother in her thirties who had her pre-teen son with her, and I saw a few other pre-teens in the place, as well. It's always like this at a McCartney concert. I might add that it's like this at a Ringo show, too.

A few of the people I talked to before the show have actually seen The Beatles in concert, most of them, including Betty Ann (Nana), at one or both of their two shows in Cincinnati. One man saw their last concert, Candlestick Park in 1966, in San Fran Cisco. That not counting their technically last live performance, the famous Rooftop Concert from 1969, on the top of Apple Records, in London, with performances of a few songs from that closing out their final cinematic project, Let It Be. How cool would it be to meet someone who was at that show?

The "opening act" was, as he has been for several tours, DJ Chris Holmes doing remixes of Beatles' and McCartney solo music for about thirty or forty-five minutes. I don't really know if "opening act" is exactly correct. I think, "pre-show" might be a better label. I mean, Holmes is on stage, but its not like: Okay everbody! Settle down! Chris Holmes is going to stand at his turn tables now and do some mixology of Paul's career. Put your focus on the stage now.

Paul's opening song?: "A Hard Day's Night, which, though credited as a Lennon & McCartney composition, was actually written by John Lennon, who originally sang lead, with Paul on harmonies. Here, Paul took on John's lead vocal with, I believe, Brian Ray on Paul's original harmony vocal.

I was also happy to hear Paul's "Temporary Secretary," from his McCartney II album. He also did it in 2015 as an addition to the play list on the last leg of his mammoth, three-year Out There tour. The song has its avid fans, such as me, and its harsh critics, like one of my friends and fellow Beatle fan, Lou. I love it! I love the joke, I love what I call, its electronic campiness. I was happy to hear it live, but I must admit, it doesn't come off as well as the studio recording. It was still fun live, though.

Of the other songs I'd not heard live before I was especially glad to hear "You Won't See Me, from Rubber Soul. Always liked that song. Besides the Beatles' original recording of it, the only other version I've ever heard was Anne Murray's cover in the 70's, of which I have never been very fond.

Of course there were a lot of songs present that seem a staple of his shows. For those who don't know, the first of the ten times I've seen saw Paul live, was the Wings Over The World tour in May of 1976. He has performed "Live and Let Die" every time, and with the pyrotechnics. He's done "Hey Jude (my favorite song) at all of but the Wings show. And there are a few others that are usually, but not always, on the play list.

I have a long list of songs I would love to hear him do live. Songs that would work greatly and most of the audience would respond to well. Here's most, with the exception of the ones that didn't come readily to mind. Also, he's done a few of these live, but not at shows I attended. Most of these are from his post-Beatle career, but the first few are Beatle songs:

I am pretty sure most of these will never make it to the stage. But, one can hope. Of course, I realize that unless you're an avid Macca fan, many of the titles above mean nothing to you.

"But enough of these diversions, K.L., how was the show?" Glad you asked. It was, you know, great. But I am a little bias, right? Still, it was, you know, great. I mean, come on, it was--

--PAUL McCARTNEY--

          --a key member of The Beatles, one-half of the Lennon & McCartney song-writing team, most successful song writer in modern history on his own, across his career the most successful charted recording artist, master showman with amazing stage presence, consumate musician--
--living legend,

PAUL McCARTNEY!

Doing my best to put my bias aside, and probably failing badly, I contend that this was as amazing and as fabulous and as excellent of an experience as the first nine times I saw Paul in concert. Paul was as magical and magnetic as usual. His voice is not what it used to be, but that's been true for a while. Yet, he still puts on one hell of a show. And this band: this band just simply kicks ass! It's been the same band, on the road at least, since his 2002 tour, and is the prevailing line-up on the 2001 album, Driving Rain (an album I'm sorry to say he is now completely ignoring, in concert).

Here's Paul's band:

Suffice to say, I was happy with the evening. Will there be a number 11 for me? If he tours the states again, which he is likely to, then, yes, indeed, there will be a number 11 for me.

Here's the set list from the One on One show (sorry, no links this time):

      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*
    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

    * = songs I had never before heard him do live


Next, my Macca photos. I identify songs if I remember which one was playing when I snapped the shot. Honestly, though, some if them I am not sure about or have no clue. By-the-way, the banner for this section is built with a photo I took at the show. That one, I know, is during "Band on the Run." But here are some more. I actually took something like 500 shots, but a good 350 or more didn't turn out. I regret that I didn't have any salvageable pics that focus on Paul's excellent, long-time keyboardist, Paul "Wix" Wickens, who's been playing with Paul, in the studio and on the road, since the late 80's.

But, here's a sampling of the photos that did turn out:
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Mango Tree Thai & Sushi: where I had my late lunch.
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My late lunch of Yellow Curry Chicken.
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Across the Ohio River: Newport on the Levee, where I was the day before for my Newport Aquarium visit.
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Paul's semis for his stage and equipment.
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Emily and her nana, Betty Ann, before the show.
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The crowd gathering at the gate, before the show.
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The opening song: "A Hard Day's Night."
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"A Hard Day's Night," again.
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This shot makes it look like I was farther away than I was.
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No clue what song. But it's a nice photo.
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Because Paul is on guitar, I am pretty sure it's "Let Me Roll It," since I believe I remember that he played guitar on it, as he often does.
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The video of Natalie Portman and Johnny Depp signing the lyrics to "My Valentine," which Paul has shown during this song on the last several tours.
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I think this may be during "Nineteen Hundred and Eighty Five."
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Again, "Nineteen Hundred and Eighty Five"(?).
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Paul's drummer, Abe Laboriel Jr. who not only is an amazing musician, but is really a lot of fun to watch as he drums!
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I think perhaps this is "And I Love her."
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Still "And I Love Her," probably.
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I'm pretty sure this is "Lady Madonna," with the best shot of Paul's kick-ass guitarist Rusty Anderson that I have from this show.
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"Lady Madonna," for sure.
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99% sure this is "Being for the Benefit of Mr. Kite!."
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"...Mr. Kite!" again.
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The second part of his tribute to his late, remarkable bandmate, George Harrison, during his now standard tribute performance of George's beautiful "Something," which he starts out playing on the solo ukulele, but then switches to acoustic as the full band comes in at the famous guitar solo. Rusty, by the way, is faithful to George's original solo, as Brian Ray is faithful to Paul's original bass line, both being signature works by these two Beatles. Note that I chose a shot that has both Beatle Georges: Harrison AND the Beatle's brilliant producer, the late, great Sir George Martin on the back screen.
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99.9∞% sure this is "Band on the Run."
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Brian Ray, Paul's other fine guitarist, who also covers on bass when Paul is on another instrument. This, too, was taken during "Band on the Run."
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Still "Band on the Run."
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Still "Band on the Run."
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"Back in the U.S.S.R.."
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The crowd in the arena. Not sure if this was during "Back in the U.S.S.R." or the next song, "Let It Be."
xxxx
No question THIS is during "Let It Be":

"And when the night is cloudy
There is still a light that shines on me."

xxxx
"Live and Let Die."
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"Live and Let Die."
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"Live and Let Die."
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"Hi Hi Hi."
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Paul signing Betty Ann's (Nana's) cast.
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Emily & Nana on stage with Paul.
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My memorabilia from this show. I got a blue "Ram On" baseball cap, too. But the whole batch they were selling were nicked up and had loose fibers all over them. I bought it, but I probably shouldn't have. I was recently informed that this is actually a new fashion style. much like the pre-torn designer jeans fad. Got a t-shirt, too.


The lingering, capricious, sojourn home: or, the mini-vacation afterparty road trip

Since I was staying Sunday night, rather than coming into work late on Monday, I took Monday off, and I took my time getting home. On my way down Saturday morning I took the major highways because getting to the Newport Aquarium with haste was the thing. Monday, I had all the time in the world so major highways were off the agenda. My trip home was going to take a common trajectory for me on the back end of a vacation: a round-a-bout, more rural-route journey.

Some time during my web-search preparations and planning for the weekend I saw a reference to Sharon Woods, a local park in Sharonville, where I was staying. A stop in forestry was added to the Monday itinerary. Around noon I arrived and spent something like two hours. I walked along a nice creek with several small waterfalls along its length, then followed a path to the park's lake that the creek flows from. There's a boathouse on the lake called the Sharon Woods Harbor, but I didn't walk around to it.

Instead, I sat on a shaded bench along the far shore from the boathouse, watching a few paddle-boaters, some motor boaters, and water foul (mostly ducks), for a nice, peaceful, quiet almost hour. Then I hit the road to continue my "lingering, capricious, sojourn home."

Sharon Woods is on U.S. Route 42, which, sixty miles north of the park, runs virtually past my front door, relatively speaking, so I figured that would be the rural pathway for my "sojourn home." Fortunately I was being as Zen as it is possible for me to be, which allowed me to not be at all frustrated or otherwise discombobulated when I hit a detour that took me west to State Route 48, for quite a few miles home. That led me through Labanon, Ohio where I drove past the LM&M Railroad, Lebanon Station, which I am going to have to go back and experience. They actually offer train rides, which look pretty cool. So there's a To-Do list item. I did at least have to stop and grab some pics.

Ten Minutes north of Lebanon, on State Route 48, I drove past Hidden Valley Fruit Farm. I have heard about this place all my life; there are radio commercials, maybe TV commercials, too. I've never been there. I drove past it, got maybe a quarter of a mile up the road, and decided that, Hey, I need some produce! So I turned around a went back. Nice, quaint little place, a bit pricey, but isn't all that gentrified mercantilism?

Well, anyway, The "Lingering, Capricious, Sojourn Home" took about four hours, if we want to include the stop-over at the park. If I remember correctly*, when I got home I took a nap. (*IT'S NOW BEEN OVER A MONTH, AFTERALL).

Pictures:
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Spring Creek at the Sharon Woods Park.
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Spring Creek at the Sharon Woods Park, again.
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And again, Spring Creek at the Sharon Woods Park.
xxxx
And again.
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The Lake at Sharon woods. This is another view that doesn't show the Sharon Woods Harbor or its boathouse.
xxxx
Ducks on the Sharon Lake.
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Be thankful that through this entire recounting of this over-celebrated "Mini Vacation/Weekend Get Away" event I have spared you the usual plethora of "selfies," but I had to do at least one. This is on a bridge over the Spring Creek at Sharin Woods Park.
xxxx
The LM&M Railroad, Lebanon Station.
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A little explanation about the station.
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My last stop before my nap.


POST-SCRIPT

The Poorly-Traveled Man

Yes, I cannot deny it, I made a much bigger deal of the weekend than it really was, but, AGAIN, I don't do stuff like this weekend enough. I'm starting to really recognize how I've gone almost nowhere on this little blue planet. I am truly a Poorly-Traveled Man. I don't do almost any big trips, and I rarely do little ones.

I think about places I have been to, and how long it's been since I've been these places, so long, it's as if I've never been. Once again, there's Hocking Hills, a little bit less than two hours away, right here in Ohio, that I've been too as a very small child. Then there's The National Museum of the U.S. Air Force, right in my back yard, yet I haven't been there since I was about twelve or thirteen, almost as long as Hocking Hills. I also haven't been, since I was a tyke, to Mammoth Cave in south-west Kentucky, about 270 miles, or a little over four hours away, which, relatively speaking, is not that far.

I've been to New Orleans, when I was a kid. I got to see the French Quarter and sort of remember it, but I didn't get to experience it the way an adult can. One side note: my dad and my Uncle Dwight met Al Hirt in his club, and sat and had a drink with him. I, being barely adolescent, was not there. I've twice been to Florida, once on the same trip as New orleans, then in my mid-twenties, with my, then, girlfriend. I have not been back.

Some buddies and I drove through Manhatten (NYC) on our way to Boston about a year after my Florida trip with my GF. NYC was a drive-through. Boston was a few day's stay. The Boston Commons by-the-way, is a great park! I've been to Colorado twice. Once when I was twenty-two, to visit a grade school &am; high school buddy who'd moved out there, to Colorado Springs, then a group of my friends and I went to Denver a few years later. And my big ("ONLY") international travel was to Montreal in the same era of my life, with many of the same friends as Denver.

How about other more local places? How about Put In Bay, in northern Ohio, on Lake Erie? I don't recall that I've ever been there. Hell, there are a lot of islands on Lake Erie to check out.

And let's not even get started on the other major U.S. places and sites that can't be remotely called "local," such as, to name the most obvious one, one of unquestionable international wonder, The Grand Canyon.

And then, there's the traveling-abroad thing, and the let's-see-more-of-Cananda thing, and Central and South America. What about Jamaica or the Caiman Islands, the Virgin Islands, Aruba? Or what about Alaska, or Hawaii? Not to mention the many of the rest of Continental USA that I've not been to.

Yeah, yeah, I go to Chicago as much as I can, and will continue to, but that's not exactly tantamount to a broad horizon of travel, now is it?

Okay, so this has become a bit of a rant, and, yes, I'm not an Absolutely-UNtraveled Man, but I am still, indeed, Poorly-Traveled, my puny, relatively limited travel experiences not withstanding. I must do at least something to change that to at least some small but still somewhat significant degree!

~ O ~




Sat, Aug 13, 2016

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WE ARE IN THE ELEVENTH HOUR, NOW:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
In my haste and push for time when I posted yesterday, I didn't mention that Thursday night I attended the rehearsal, to again play those key musical moments in Act I as well as adding a few other sound cues that were ready. Still nothing was ready for Act II, but I did stay for the whole run so I could note the feel and moods that transition music needs between scenes, though there are a few scenes that transition so quickly and seamlessly that no transition music or other sound are needed.

Last night was not quite as productive as I hoped. Things got in my way and I didn't even get home for the night until late. I wasn't able to do much work at all on the sound, barely any. But today is all clear from any distractions, at least any that I am aware will be there.

I'm just about to head to the theatre for the day. I'm going to be there allllllllllll day! I'm taking my sleeping bag and appropriate supplies because there aren't small odds that I spend the night. It's virtually a tradition, anyway, so what the hell!

Tomorrow's Tech Sunday starts Tech Week with a 10:00 a.m. dry tech with Director Jeff Sams, Lighting Designer John Falkenbach, and myself. Then the cast is in at 11:00 for a cue-to-cue to start then or as shortly after 11:00 as we are ready. I rather doubt we will be finished with dry tech for an 11:00 start, but may be wrong. I have however learned that with productions it's better to over-estimate the time needed to do anything than to under-estimate it; that's both for stage and screen productions.

DTG Promocast Production logo
Meanwhile there's a glitch in my plans for promocast production. One of the key actors cannot make the Monday rehearsal, so they are doing a script read through rather than a tech run. I don't need such footage so I won't be there, and I have to shoot what I shoot, Tuesday, with one exception. I am going to grab audio of all the lines in the prologue tomorrow, right before the full run of the show. I just need audio. The prologue makes up the major part iof what I want to highlight in the DV movie, but shooting it would prove difficult because of the way the cast is dispersed in a tablea on stage. It would be especially difficult to capture well in one rehearsal. Even with two I might not be able to get impact. What I'd really need to do is shoot it like a movie, with close to individual set-ups for each actor as he or she does their lines. I don't like to take that much of the cast and crews time, especially during Tech Week when the time-crunch is already on. But getting the audio will be quick and easy.



Tue, Aug 16, 2016

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TECH WEEK IS ON:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON

Tech Sunday is now behind us, and Tech Weekis officially underway. Tech Sunday went rather smoothly, and pretty much as planned. We did get the dry tech started at 10:00 and we were done in time for an 11:00 cue-to-cue rehearsal, that did not start until 11:30 -- but that 11:30 start was not at the feet of the dry tech crew. There was a full Tech run at about 3:30, after a dinner break.

Yeah, well, a dinner break for most. For me it was not. It was a "fix-and-add" period. A few minor problems did creep up both during the dry tech and then cue-to-cue. There were a couple sound files that for whatever reason lost quality when running through cues for the show. Possibly, the memory buffer is getting taxed and the software can't process them well enough. I say that because I played one of them during that break, and it sounded fine. But during the tech run it again sounded bad. There was another one. Jeff and I have agreed to just cut both of these bad-sounding cues rather than replace them. They were not critical sound cues, anyway.

Otherwise, I missed a few things in my all-nighter programming, usually I forgot to program in the stop or fade command for a sound cue. Jeff also asked that an additional scene be underscored. I pulled a transition music piece for the tech run, but I decided it needs something more appropriate. I haven't found that more appropriate music, yet, but it will be chosen and in place by tonight's run.

Of course, there were tweaks to be done, volume levels, especially. Without question, more tweaks will come during the rest of Tech Week. Hell, I've been known to make adjustments after the performance run begins.

Oh, and by-the-way: when I left for the theatre on Saturday morning, in anticipation of the 99.9∞% probability that I'd do an over-nighter at the theatre, I did take my sleeping back, a pillow, toiletries, a change of clothes, my meds, and enough food to cover meals from lunch Saturday through lunch Sunday. Turns out I did not really need the sleeping bag nor the pillow. Oh, I did the over-nighter; there just wasn't much time for sleep. At about 12:30-ish a.m. when I was still building sound, though somewhere in the finishing stretch, I knew it was going to be a much later night than it already had become. I had a lo-o-o-o-o-o-o-ot of programming to do.

In my last post I wrote that I've found "that with productions it's better to over-estimate the time needed to do anything than to under-estimate it." Boy, did I under-estimate the time it would take to have the sound program ready for Tech Sunday. I finished just about 7:30 Sunday morning. Then I sat on a sofa in the greenroom and got at least a nap in. I slept about ninety minutes before I woke just in time for the dry tech.

This was the first time I have done anything like an all-nighter since the heart stuff. I survived it, but I gotta say, I was still feeling the after-affects, feeling a bit logy, yesterday. I got to the theatre at 10:00, Saturday morning; I left at 7:00, Sunday evening. That's thirty-three hours; thirty-three hours with an hour-and-a-half of sleep. That was not the plan, nor was it my preference, but that hard Tech deadline was in my face and I had underestimated the job. I'm not too keen on this happening again, even after my stamina wholly recovers.

DTG Promocast Production logo
PRODUCTION GREMLIN ICON
TASCAM DP-03 8 TRACK DIGITAL PORTASTUDIO RECORDER ICON
As for the promocast DV movie, another challenge presented itself when I tried Sunday to record the audio of the lines in the Prologue, though I suppose blaming the theatre gremlin, as the inclusion of the graphic implies that I am, is not strictly fair. Some electrical work was being done in the building Sunday so I was getting a strong electric cycle ground hum the channels of in my Tascam digital audio recorder. I'd originally thought about using one of my Canon Vixia DV movie cameras to get the audio, but changed my mind since I could get better audio with the Tascam. Had I brought a camera I could have gotten the audio using the camera on battery power and the problem would be solved. Likewise had I had batteries for the Tascam.

Tonight I will try one more time. This time I am using a camera since I will have them for the promocast shoot. I'm also going to go ahead and shoot individual close-ups of each actor saying the lines. There aren't that many lines, in total, so I can get this done rather quickly.

Besides the Epilogue, I am only shooting a very few other very specific moments, so I definitely will meet my goal of leaner, more concise promocasts this year, at least with the first one. It will be the templet for the rest of the season -- and beyond, I think.


By the Way
SOUND DESIGNING ICON
You five may recall my whining about not wanting to design the sound for every DTG show this season, as I virtually did last season, with two collaborations (one due to my heart incident) and one other show, All Is Calm, really not having a "sound design." Still I might as well have been the "House Sound Designer," which certainly has its flattery, but, I really do not want to design all or almost all the sound this season.

I believe another very fine sound designer is on board for our second show, The Outgoing Tide, which makes me quite happy. I am working on persuading another, who hasn't been involved for a while. Plus, there are two, newer to DTG, who both are very interested in learning. One has a goal of learning enough to design our last show of the season, Wonder of the World. I have invited both to shadow me whenever and as much as they can during the three shows I have signed on for: this one, of course, plus The Unavoidable Disappearance of Tom Durnin, which I will also assistant direct, and Luna Gale. One of these two apprentices, if you will, spent a few hours with me this past Saturday. I also plan to do one or two, or more, training sessions. The good thing is, with either of them, when they take the plunge, I will be available whenever they have problems or questions; I can be an advisor.



Fri, Aug 19, 2016

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Opening Today

THE LAST LIFEBOAT by Luke Yankee, at The Dayton Theatre Guild.

Click here for the promocast of the show



Wed, Aug 24, 2016

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HOW I SPENT MY MONDAY & TUESDAY EVENING:
AUDITION ICON OUTGOING TIDE & Dayton Theatre Guild combined logo. WAITING
After debating it a little, I decided I am up to muster to be in a production, at least a non-professional one with less of an intense rehearsal schedule, so I did audition for Bruce Graham's The Outgoing Tide. My belief, or "feeling" if you will, is that I gave a good audition. However I wasn't the only one who gave a good audition for the role I seek, so we'll see.


IN MOST WAYS, I'M ENTERING VIRTUALLY VIRGIN TERRITORY:
DTG Assistant Director icon
THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.

Sometime soon there will be a meeting between the director of The Unavoidable Disappearance of Tom Durnin, Marjorie Strader, the producer, Barb Jorgensen, the stage manager (SM), Melanie Brenner, and myself, the assistant director (AD). It'll be to do a little coordination, and especially, for me, what gets assigned to the SM and what to the AD.

I think I wrote here recently that I AD'd a show at DTG quite a while back, I Never Sang for My Father, back in the spring of 2006. The whole point of doing this now is that I have my eyes on directing a show in the 17/18 season, providing that the particular show is chosen by the board as part of that line-up. It's one that I have submitted to the play-reading committee.

Though I've directed narrative short films -- and, one feature length that may never make it to a finished version -- I've not directed a stage play; well, I did direct a couple pages from Robert Anderson's Tea and Sympathy in an high school liberal arts class, Stage Directing, during the 1975/76 school year. Here's what I remember about that: pretty much nothing. I don't even remember who were the two who acted in the scene.

I've been thinking about taking the plunge into stage directing for a few years now, maybe longer than a few years. Many of my cohorts in theatre keep saying, "Why aren't you directing? You'd be good at it." I certainly armchair direct and second guess the directorial decisions of others enough.

I actually have no direct knowledge of Marjorie's directing, but I am impressed with the woman and her rep is good, so this seems like a worthwhile, learning venture.


QUEEN OF THE NIGHT!:
AT THE MOVIES icon

Tonight I plan to drop into the Little Art Theatre in Yellow Springs to see Florence Foster Jenkins, starring Meryl Streep in the title role of Florence, Hugh Grant as St. Clair Bayfield, and Simon Helberg (The Big Bang Theory) as Cosmé McMoon. This is the same story as the theatre production Souvenir, by Stephen Temperley, which I was twice involved with, first at The Guild, then later at Brookville Community Theatre, with Renée Franck-Reed as Florence and Chuck Larkowski as Cosmé. I was the sound designer, go figure.

Most of the cast and crew for those productions went to see the movie the first weekend it was open, but I was unable to join them. I happened to be in Yellow Springs, this past Sunday, and saw it is playing there, so, tonight....


DIALOGUE CLEARANCES FOR THE REST OF THE SEASON - UPDATE:
DTG Promocast Production logo
Copyright © Symbol icon

So, I've already reported that Playwright Bruce Graham has given clearance to use dialogue for the promocast for The Outgoing Tide.

I have also received the signed agreement from David Lindsay-Abaire's agent at William Morris Endeavor to use dialogue from Wonder of the World in that promocast, and I am in conversation with Rebecca Gilman about Luna Gale,

I still await replies from Steven Levensen for The Unavoidable Disappearance of Tom Durnin and Bernard Pomerance's agent, for use of dialogue from The Elephan Man.



Fri, Aug 26, 2016

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AUDITION ICON
OUTGOING TIDE & Dayton Theatre Guild combined logo.
NOPE ICON

Gunner -- Peter Wallace

Peg -- Barbara Jorgensen

Jack -- Matthew Smith


QUEEN OF THE NIGHT!, PART 2:
AT THE MOVIES icon
NOPE ICON
Didn't make it to the Little Art Theatre in Yellow Springs to see Meryl Streep, Hugh Grant, and Simon Helberg in Florence Foster Jenkins. Now the run there is over.

I might be able to check it out this weekend at another cinema, maybe Sunday.



Wed, Aug 31, 2016

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LUKE TALKS BACK:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
xxxx

Last Saturday afternoon, the Last Lifeboat playwright, Luke Yankee, was in attendance for the nearly sold-out performance (technically it was sold out, but a few people didn't show -- perhaps it was the monsoon-like downpours that were falling, on-and-off, all day).

After the performance, Luke did a talkback with those from the audience who stayed, which was about three-quarters those who'd attended. The audience asked thoughtful questions and Luke gave thoughtful, entertaining answers. It lasted about forty-five minutes, then we held a reception for him.

He is a thoroughly charming, charismatic man. One interesting tidbit: he is the son of the late, very gifted character actress Eileen Heckart, who was a staple of television for decades and won an Oscar as Best Supporting Actress in Butterflies are Free. Seriously, if you haven't seen her work, you didn't watch TV -- or, see Butterflies are Free. Luke wrote a memoir about her, Just Outside the Spotlight.

xxxx
Luke with the show poster.
xxxx
He signed the sound design script.
xxxx
And he signed my personal copy.



RIP Gene Wilder, June 11, 1933 - Aug 29, 2016
Comedy genius and clearly beautiful soul
What else needs to be said?


Sat, Sep 3, 2016

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THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.
DTG Assistant Director icon
This afternoon I have a brief meeting with Director Marjorie Strader to discuss exactly what my AD (Assistant Director) duties will be for the production. I'm not sure if Producer Barb Jorgensen or Stage Manager (SM) Melanie Brenner will be there or not. If so, clearly other items will be discussed, as well.


Sun, Sep 4, 2016

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Closing Today

THE LAST LIFEBOAT by Luke Yankee, at The Dayton Theatre Guild.
The Cast of The Last Lifeboat
CHARACTER
           ACTOR
Actor 01:
J. Bruce Ismay


           Matt Lindsay


Actor 02:
William Randolph Hearst,
Thomas Andrews, and others


           Mike Beerbower


Actor 03:
Policeman, Sailor, Senator Fletcher, etc.


           Zach Katris


Actor 04:
Captain Smith (of the Titanic),
J.P. Morgan, Thomas Ismay and John Jacob Astor.


           Gary Thompson


Actress 01:
Vivian and other female characters.


           Cassandra Engber


Actress 02:
Florence Ismay and others.


           Heather Martin


Actress 03:
Margaret Ismay and other female roles.


           Kerry Simpson


Actress 04:
A variety of female roles
           Heather Atkinson

The Promocast for The Last Lifeboat



2016 AD:
THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.
DTG Assistant Director icon

Had a lunch meeting with Director Marjorie Strader and Scenic Designer Bruce Brown, though really it was that Marjorie was having a meeting with her set designer and her AD.

For my part, we discussed a bit more of the specifics of my role in the production since AD's are not always in theatre production teams, especially at the non-professional level, so many of what might be AD responsibilities become stage manager (SM) responsibilities. I also got my first official pre-production assignment, having to do with the dissemination of production scripts.



Mon, Sep 5, 2016

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HAPPY LABOR DAY


Wed, Sep 7, 2016

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

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



DEMON BARBER:
In the audience icon

Lately I have missed attending several local theatre productions for various reasons, including, in some cases, lack of funds. I have every intention of attending the Final Dress, "Can Night"*, tonight, for the Human Race Theatre Company mounting of Sweeney Todd.

A few whom I have worked with are in the cast or crew, including Sweeney, himself, as played by Jamie Cordes, Drew Helton, David Shough, and Christine Zavakos. It's directed by Scott Stoney, with musical direction by Seam Michael Flowers, sound design by Jay Brunner, and Kristin A. Sutter is the stage manager. Also, of course, the lighting design is John Rensel's.

*PAY WHAT YOU CAN -- "Can Night."

Any Dayton-local theatre people who might happen to read this will know all about "Pay What You Can" night.

The The Human Race Theatre Company almost always (if not always) opens up the Final Dress rehearsals of its productions for students and others who can't quite make the range of ticket prices for the official performances. The Final Dress is usually the Wednesday of opening week, and the event is called the Pay What You Can Night, affectionately referred to as "Can Night."

The price of admission is a few cans of non-perishable food items or a cash donation. The canned food goes to The Food Bank and the cash goes to the AIDS Resource Center of Ohio.

At 6:30, in the lobby of the Loft Theatre, the ushers hand out number tickets, in chronological order. At 7:30 they then call out blocks of numbers, such as "One through Twenty" and those with tickets in that range can go into the house and find a seat. then 21-30, 31-40, or whatever the blocks happen to be.

One wants to be there before 6:30 because a line will start forming and you want the lowest ticket number possible.

You want to be sure you are back in the lobby at 7:30 when they call the range your number is in because if you snooze you loose. Don't know if you will not be able to get in, that would depend on how many folk show up, but if you were in the first group but missed it, you obviously lost your advantage.

It's a great thing, this Can Night! If you're local and have a modest bank account, take advantage of it if you need to.




"ADULT ACTING TECHNIQUES":
PROFESSIONAL DEVELOPMENT ICON

Speaking of The Human Race Theatre Company, I have once again enrolled in an acting class there, this one, like last year, taught by the talented Ms. Jennifer Joplin. It runs September 19 through October 24.

If you are local and interested, there are still slots open: humanracetheatre.org/education/adult-classes.



Fri, Sep 9, 2016

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VISITING FLEET STREET:
In the audience icon

I was able to get to the Can Night*, Final Dress of Sweeney Todd at The Human Race Theatre Company this past Wednesday evening. Tonight the show officially opens.

This mounting is a fine production of the musical and my hat's off to the cast and crew.

*PAY WHAT YOU CAN -- "Can Night."

Any Dayton-local theatre people who might happen to read this will know all about "Pay What You Can" night.

The The Human Race Theatre Company almost always (if not always) opens up the Final Dress rehearsals of its productions for students and others who can't quite make the range of ticket prices for the official performances. The Final Dress is usually the Wednesday of opening week, and the event is called the Pay What You Can Night, affectionately referred to as "Can Night."

The price of admission is a few cans of non-perishable food items or a cash donation. The canned food goes to The Food Bank and the cash goes to the AIDS Resource Center of Ohio.

At 6:30, in the lobby of the Loft Theatre, the ushers hand out number tickets, in chronological order. At 7:30 they then call out blocks of numbers, such as "One through Twenty" and those with tickets in that range can go into the house and find a seat. then 21-30, 31-40, or whatever the blocks happen to be.

One wants to be there before 6:30 because a line will start forming and you want the lowest ticket number possible.

You want to be sure you are back in the lobby at 7:30 when they call the range your number is in because if you snooze you loose. Don't know if you will not be able to get in, that would depend on how many folk show up, but if you were in the first group but missed it, you obviously lost your advantage.

It's a great thing, this Can Night! If you're local and have a modest bank account, take advantage of it if you need to.



Tue, Sep 13, 2016

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It's About Damn Time! -- with frowning eyes graphic
FutureFest 2016 at The Dayton Playhouse.

xxxx
xxxx
Me & Scott.
I know what you're going to say, if you actually exist -- "you" being someone who actually knew to be waiting for this particular post on FutureFest 2016. You're going to say, "Pretty long wait for such a short post." It was all about getting the pics ready, you see.

First thing I want to say about this year's festival is that it was an exceptionally fine batch of plays. Playwright Scott C. Sickles took first place for his play Shepherd's Bush, and though the play was a deserving win, there was strong competition. The audience favorite from the weekend was Memories of the Game, by Kristy Sharron Thomas.

I hung out a little bit with Scott and we even came to discover that we have a mutual acquaintance, Tina Gloss, one of the stars of a movie I appeared in a few years back, Still Me. As well, Tina played Ned's mother in the flashbacks on the too-short-lived Pushing Daisies TV series. Meanwhile, Scott is a writer on General Hospital and previously wrote for One Life to Live, and he's a graduate of Carnegie Mellon University.

For the festival in general, there was a lot of very good acting happening on stage during the weekend, as well, with several most excellent performances. I thought the directing was good overall and, of course, Chris Newman's set designs were, well, Chris Newman set designs.

Check out Russel Florence, Jr.'s article on the weekend and on the winning play: "'Shepherd's Bush' wins Dayton Playhouse FutureFest"

The weekend performance schedule:
Memories of the Game
by Kristy Sharron Thomas

(Friday, July 22 - 8:00 PM)

Directed by Robb Willoughby

Franklin Johnson as Kenneth McIntosh

Marva Williams as Karen McIntosh

Nabachwa Ssensalo as Sharon Evans

Andre Reece Tomlinson as Michael McIntosh

Properties: Tina McPhearson

 
FUTUREFEST 2016
WINNER
* * * * * * * * * *
Shepherd's Bush
by Scott C. Sickles

(Saturday, July 23 - 10:00 AM)

Directed by Michael Boyd

Scott Knisely as Bob Buckingham

Ella Wylie as May Buckingham

David Shough as E. M. Forster

Brian Sharp as J. R. Ackley

Bonnie Froelich as Lily Forster

Stage Manager: Logan Dabney

 
N
by Adrienne Earle Pender

(Saturday, July 23 - 3:00 PM)

Directed by Cara Hinh

Shawn Diggs as Charles Gilpin

Shyra Thomas as Florence Gilpin

Sean Gunther as Eugene O'Neil

[Miss]
by W.L. Newkirk

(Saturday, July 23 - 8:00 PM)

Directed by Cynthia Karns

Jennifer Lockwood as Dr. Frances Oldham Kelsey

Ted Eltzroth as Dr. Raymond Stehle/Dr. Joseph Murray

Jon Edward Cox as John

Anna Masla as Betty

Chuck Larkowski as Dr. Raymind Pogge

Renee Reed as Gertrude

Jennie Hawley as Mary

Mark Anderson as Dr. Eugene Gelling/Dr. Ray Nulsen

 
The Violin Maker
by Christopher G. Smith

(Sunday, July 24 - 10:00 AM)

Directed by Saul Caplan

Dave Nickel as Wilhelm

Jess MaGill as Karl

Bryana Bentley as Angela

 
The Griots
by Gwendolyn Rice

(Sunday, July 24 - 3:00 PM)

Directed by Fran Pesch

Annie Pesch as Lizzie Dupree

David E. Brandt as John Holt

Judi Earley as Ada Coalson

Stage Manager: Jared Mola
Costumes: Carol Finley & Sandy Lemming
Dresser: Kathleen Durig
Properties/Sound Design: Fran Pesch
Audio Recorder: Gary Thompson
Sound Engineer: Bob Kovach

Adjudicators
Peter Filichia; Craig Pospisil; Janna Robbins; Ashley Rodbro; Helen Sneed.

Festival Production Staff
Chris "Red" Newman (Scenic Design); Anita Bachmann & Rachel Twardzik (Lighting Design); Bob Kovach (Sound Design); Rachel Twardzik (Light Board Operator); Jim Latham (Sound Board Operator); Cathleen Carroll (Costumer); Matthew Smith (Program); Art Fabian (Photographer).

And now, photos:

xxxx
Memories of the Game director, Robb Willoughby, and the cast: Franklin Johnson, Nabachwa Ssensalo, Marva Williams, and Andre Reece Tomlinson.
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Brian Sharp with Memories of the Game playwright, Kristy Sharron Thomas.
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The cast of Shepard's Bush: David Shough, Scott Knisely, Bonnie Froelich, Ella Wylie; and Director Michael Boyd.
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Brian (also in the Shepard's Bush cast) with Playwright Scott C. Sickles.
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The cast of N (starting 2nd from the left): Shawn Diggs, Shyra Thomas, and Sean Gunther; with Director Cara Hinh. *I have not identified the person to the far left of the photo.
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Brian with N playwright, Adrienne Earle Pender.
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[Miss] cast & crew. Front row: Cynthia Karns (director), Jennie Hawley, Jennifer Lockwood, Mark Anderson, and *a person to be identified soon. Back row: Renée Franck-Reed, Ted Eltzroth, Jon Edward Cox, Chuck Larkowski, and Anna Masla.
xxxx
Brian and [Miss] playwright, W.L. Newkirk
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The Violin Maker director, Saul Caplan, with the cast: Jess MaGill, Bryana Bentley, and Dave Nickel.
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Brain and The Violin Maker playwright, Christopher G. Smith.
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The Griots director, Fran Pesch, and the cast: Judi Earley, David E. Brandt, and Annie Pesch.
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Brian with The Griots playwright, Gwendolyn Rice
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The FutureFest 2016 adjudicators: Peter Filichia, Janna Robbins, Craig Pospisil, Helen Sneed, and Ashley Rodbro.
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Most of the FF2016 playwrights, outside of Saturday dinner at the The Miami Valley Gulf Club.
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Hangin' in the lobby: Renée Franck-Reed (actor & operatic vocalist), Kevin Moore (President & Artistic Director of The Human Race Theatre Company), and Russel Florence, Jr. (local theatre critic).
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The Sunday afternoon spread, provided each year by FutureFest co-founder, John Riley, from his restaurant, Benjamin's The Burger Master.
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Wider view of Sunday dinner in the lobby.
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The playwrights at the awards ceremony.
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Scott C. Sickles accepts his award.
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Scott gets his official award picture taken.



Fri, Sep 16, 2016

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PROFESSIONAL DEVELOPMENT ICON
JUST CALL ME A STUDENT OF THE ARTS:
ACTING ICON
Final Draft 8 icon

I am now enrolled in two arts educational opportunities at The Human Race Theatre Company.

Not only am I in Jennifer Joplin's six-week-long "Adult Acting Techniques" course, which starts this Monday evening and runs through October 24, but I have also enrolled in a one-day writing seminar, "Building Character," which features, as the lecturer, Playwright Michael Slade, whom I had the privilege to work with when I was a cast member in the HRTC workshop production of his Gingerbread Children.

Michael is also the author of the intense Under a Red Moon and the lovely Family Shots, both which have been produced on the HRTC Loft Stage, as well. Plus, almost simultaneously with our workshopping of Gingerbread Children, The Zoot Theatre Company produced his And a Child Shall Lead. So Michael has a bit of a relationship with Dayton professional theatre.

If you are local and interested, there are still slots open for both Jennifer's class and Michael's seminar: humanracetheatre.org/education/adult-classes.



Wed, Sep 21, 2016

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PROFESSIONAL DEVELOPMENT ICON
ACTING ICON
Final Draft 8 icon
The first class of the Adult Acting Techniques course with Jennifer Joplin at the Human Race Theatre Company is now under wraps. This past Monday was a good start to the five weeks. It's a bigger class than I am used to for the HRTC acting classes; there must be about a dozen students -- in the past they've been restricted to something like six or eight. We will be doing scene work, with sets of us working on a particular scene together.

As for the upcoming one-day writing seminar, "Building Character," with Playwright Michael Slade, I need to contact him to find out if it would be appropriate to bring the few scenes I have written recently for a play -- recently meaning within the last twelve months, so it's not like it's "fresh" work.


THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.
DTG Assistant Director icon
We have a production meeting this coming Saturday morning. I'll be attending it mostly as the AD, more so than as sound designer. But I will look the script back over a few times before Saturday with both hats on my head.


A Ron Howard Film. Eight Days a Week: the Touring Years. The Band You Know. The Story You Don't. The Beatles. September 2016
The Beatles

Last Saturday evening I watched Ron Howard's Beatles documentary on Hulu. I had vague plans to track down a movie theatre that was showing it and experience it that way, but it wasn't all that important to me. I watched it at home. I enjoyed it greatly. Without getting too much into "reviewing," I wouldn't call it amazing but it's still a strong piece of film and I recommend it, especially if you're younger and think that all the reminiscences of Beatlemania are hyperbolic -- you'll get perhaps a little bit of understanding of just how immense and unprecedented The Beatles' fame actually was.


FYI ICON
For anyone who is interested, the Tom Hanks talk back to the theatre and motion picture students at Wight State University is available via the WSU streaming service.

The talk back happened back in April on the day of the dedication of the new Tom Hanks Center for Motion Pictures, on the Wright State University campus.

After going to the streaming link, click on "Events" from the menu that you'll see next to the video window, then you'll see the Tom Hanks talk back. The dedication ceremony is also there. The Hanks talk back is 95 minutes. I watched it when it streamed live -- alas I weren't important 'nuff ta get in ta da room -- Tom is very entertaining and tells some great stories.



Wed, Sep 28, 2016

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Vote For You - Register To Vote - https://vote.usa.gov







TWO DOWN, FOUR TO GO:
PROFESSIONAL DEVELOPMENT ICON
ACTING ICON

We are now through our second class session of Adult Acting Techniques, at the Human Race Theatre Company, instructed by Jennifer Joplin. This Monday we touched on ways to find the attributes of the character one is portraying: physical features, demeanor, gestures, identity, emotions, motivations, and more. We also looked at archetypes, with the basic ones being such as Hero, Villain, Innocent, Magician, Sage, Commoner, Caregiver. Jennifer also gave us our sides for the scenes we will be in. I am with two other gentlemen in a few pages from Pick Up Ax, by Anthony Clarvoe. Each if us, in our specific scenes went off to start some exploratory read-throughs. At the moment, in overall terms, I'd label my character's archetype as well-groomed thug.


      
also
      

Final Draft 8 icon
Speaking of "Character," I'm also looking forward to the three-hour playwright seminar, "Building Character," coming up this Saturday at HRTC with Playwright Michael Slade (Gingerbread Children, Under a Red Moon, Family Shots, at the helm). Still not sure yet whether it's practical to bring pages I've been working on. I have put a query in to Michael. I expect that with there only being three hours, it will not be practical.


"UNAVOIDABLE" PRODUCTION MEETING:
THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN & Dayton Theatre Guild combined logo.
DTG Assistant Director icon
SOUND DESIGNING ICON

Saturday morning we had a production meeting at The Guild. I read through the script a few times the few days beforehand, both as assistant director and as sound designer, really a bit more as the sound designer.

The meeting was really a pretty general meeting and there was little definition of my duties as AD determined. We also only briefly touched on sound design. We did get some handle on rehearsal scheduling, at least as far as the model; many of the exacting particulars won't be set until Director Marjorie Strader knows the exact availability of the cast members. Marjorie also had a few questions about SOP at The Guild. And we saw the blue prints for Bruce Brown's set design.

Remember that our open auditions are Monday and Tuesday, October 10 and 11, starting at 7:00 both nights, at the theatre. The information will be just below the blog entries on this page, and also at www.daytontheatreguild.org/auditions, both until the audition dates have passed.



THE VELOCITY OF COBLE:
In the audience icon

Saturday night I saw The Velocity of Autumn, by Eric Coble, mounted by Undercroft Players, and featuring Robb Willoughby and Debra Kent.

This is a well-written two-hander, and my hat's off to the cast, Director Teresa Connair, and the crew, for a nice production that did the script its due justice.

Coble, by the way, is the author of our closing show of the 2013/14 season, the dark comedy, The Dead Guy, of which it just so happens Teresa was a cast member, as was I.



Thu, Sep 29, 2016

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34 Years
CORRECTION
October 2, 2016 addendum:
I am getting old. When I originally posted this, the graphic and the text both stated I was "32" years sober. I cheated myself out of two years. After having my error brought to my attention, the only thing I changed was that 32, to "34," in both the graphic and the text. The "Sep 29, 1982" in the text has always been the correct, it was just my math that was incorrect. Good math says "2016-1982=34."

34 Years
Today, I again have reached another year sober. I am now at 34 years. As I have written before: it's all thanks to what, in the wee early hours of the day on Sep 29, 1982 seemed like a misfortune -- but most certainly was not -- the love and support of a group of sober people who held me until I could walk on my own, and, most importantly, the love of power greater than me. My life still ain't near perfect but it's not the hell it would have been.




CHARACTER WORK THIS WEEKEND:
PROFESSIONAL DEVELOPMENT ICON
Final Draft 8 icon
In preparation for the three-hour playwright seminar, "Building Character," coming up Saturday at HRTC, with Playwright Michael Slade at the helm, I am looking at a few pages of a play I started sometime in 2015, as potential to bring to the event. I contacted Michael about whether that would be appropriate and responded that it would be, in fact he is encouraging all the participants to bring a couple pages, keeping in mind that they should show character features or character development. I'm not sure what I have so far does, but then, I am close to it; it's better for those who don't have any picture of the characters to look at the words to see if character is showing through, since all they have are the words to define the characters for them, not the creation of the characters in their heads.


PROMOTIONAL WORK THIS WEEKEND:
OUTGOING TIDE & Dayton Theatre Guild combined logo.
DTG Promocast Production logo
Last I attended most of the run-through of the Outgoing Tide rehearsal in order to help me decide what brief moments I'll use for the promocast. Rather than shoot during a dress rehearsal, next week, I'm going to come during this weekend's Tech Sunday and shoot these selected moments, with the actors performing them for the camera. Director Kathy Mola has scheduled the shoot into the day. I haven't yet chosen the moments, but I have picked the potential moments.



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