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

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

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Tue, July 4, 2017

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241



ALL MY SONS & Dayton Theatre Guild combined logo.
A lot of other news is delayed, however, I do want to announce the cast of our first DTG show for the 17/18 season, Arthur Miller's All My Sons:

CHARACTER
           ACTOR
Joe Keller
           David Williamson
Kate Keller
           Rachel Oprea
Chris Keller
           Jeff Sams
Ann Deever
           Kari Carter
George Deever
           Mike Beerbower
Dr. Jim Bayless
           Rick Flynn
Sue Bayless
           Adee McFarland
Frank Lubey
           Todd Rohrer
Lydia Lubey
           Heather Atkinson
Bert
           Noah Rutkowski



Wed, July 5, 2017

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CATCHING UP

Sometimes, ya know, I just don't get around to updating this thing. But, I never abandone it. I am back now, to catch up on stuff that's been happening:





BRUSH WITH FAME:

Eve Plumb and K.L.Storer at The Dayton Visial Arts Center, June 17, 2017

On a Personal Note icon

Saturday morning, June 17, I was at The Guild helping out with Cleaning Day. But late morning I took a break and left for a while. I went over to The Dayton Visual Arts Center to a small exhibit of paintings by Ms. Eve Plumb; yes, that Eve Plumb, from The Brady Bunch. The exhibit was a small assortment of some of her interpretations of moments from film noir and western movies. She had just about a dozen paintings exhibited and I was impressed. You can see some of them behind her and I in the photo, above, in which she was gracious enough to pose with me.

I was there for about 30-45 minutes, give or take, and with only a few exceptions it was only Eve, Kevin Moore of The Human Race Theatre Company, and myself. It was the kind of celebrity encounter I'd rather have: quiet, laid back, somewhat in the neighborhood of private, and a situation where I was not imposing upon her privacy and time but was welcomed into the space and the situation.

During my visit with her and her art I did not mention The Brady Bunch because that wasn't the point of the day, and I really can't think of what there was to say about it. "Wow! You were a part of something truly iconic in American pop culture!" is not going to be a revelation to her. I also absolutely was not about to utter that one phrase made so notoriously popular by the recurring sketch on Saturday Night Live in the 80's. My understanding is she hates it, and why shouldn't she? Even if she doesn't hate it, why be the 1,350,000th person to say it to her?

We talked about her paintings and about some of the technique for a few of them. and some galleries she has. We talked about the play Family Ties, in which she was currently appearing as Elyse Keaton. It was a nice pleasant 30-45-ish minutes She said she mostly does still lifes and she showed me some photos she took on her phone, during her stay in town, as potential subjects of future paintings. One photo in particular of a small table and chair in the corner of a small eatery she'd visited was especially compelling because of the geometry and the colors.

She also talked some about her stroke technique for a couple of the paintings, such as one western painting of a man on a horse where all her strokes on the canvas were deliberately vertical. Some of her paintings are impressionistic in style, some almost lithographic, especially since they are in black-and-white to mirror the movies she's pulled them from.

One of my favorite moments from the encounter was when I asked her if one of the western paintings, very impressionistic in style, depicted Yule Brenner. Her response was, "If you want to be Yuel Brenner, then that's who it is."

I was intersted to find out that she has several galleries including one near Sarasota that features celebrity art work. Check out her web site: eveplumb.tv/. In Eve's words, "The main site is a little clunky but there are links to the galleries." There's alos some samplings of her work there.

Of course, the truth is that it was Ms. Plumb's celebrity and the opportunity of the meet-and-greet that drew me to her exhibit. And, that I did not mention it to her does not negate the fact that she was a part of something truly iconic in American pop culture. On the other hand, I was interested in seeing her work as a painter. Further, when I've enjoyed an actor's work in a production, any actor's work, I always like telling that actor in person that I did so. I was not able to do that when I saw her in Family Ties the previous Wednesday, so it was another reason to come see the exhibit, so I could comment to her, in person, about her stagework.


OCTA THIS WEEKEND:
SOUND DESIGNING ICON
SOUND TECH ICON
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
The Dayton Theatre Guild's presentation of Luke Yankee's The Last Lifeboat at the regional dramatic competitions of OCTA (the Ohio Community Theatre Association), at the Troy Civic Theatre is this Saturday afternoon.

As I wrote before, I have remixed the sound for the excerpt being performed from quadrophonic to stereophonic. I'll be the sound tech for the performance. I'll be running the sound from the DTG laptop, which has our Show Cue Systems software installed on it now. In rehearsals I have been running from the laptop rather than the booth computer to practice with the precise tool I'll be using in Troy.


PREPRODUCTION IS AFOOT:
ALL MY SONS & Dayton Theatre Guild combined logo.

As you saw in my last post, or if you are local, or otherwise follow my facebook or DTG's facebook page, you know the show is cast now, and preproduction is in swing.

DTG Producer icon
The table read is next Monday, and I will be there as producer to take care of producer's business -- like deadlines and specs for their program bios and headshots, etc., and to explain the promocast shoot coming up at Tech Week.

DTG Promocast Production logo
Copyright © Symbol icon
One of things I am thrilled about, and a little surprised by, is that I was granted copyright clearance by the Arthur Miller representation to use dialogue from the play in the promocast.
So YaY!



PRODUCTION STAFF, NOT CAST MEMBER:
Dayton Playhouse FutureFest 2017
SOUND DESIGNING ICON
I don't think I ever specifically mentioned that I did not audition at all for FutureFest 2017.

However, I have recently come on board as the sound designer for five of the six productions.

Meetings with the directors have commenced.

A meeting with their house sound guy comes up this week, so I can get familiar with the software and equipment environment in which I will be working.

One production has requested that I run the sound. For the rest of the performances over the weekend, I will be sitting in my usual FF seat the audience.


In the audience - Not in the audience animated gif icon
Recently I have made it to a couple shows but missed some others.

As mentioned above, I did get to Family Ties at The Human Race Theatre Company. It's a cute script, though not especially extraordinary. It does have an interesting twist, or, "shoe that drops," if you will, with no foreshadowing of that development. But ultimately, it was the performances by the cast that was what was really worth the attendance. They all did great jobs of making the characters their own, while still maintaining the spirit of the performances by the actors who originated the roles in the TV series.



Fri, July 7, 2017

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HAPPY BIRTHDAY RINGO



OCTA REGIONAL, TOMORROW:
SOUND DESIGNING ICON
SOUND TECH ICON
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.

Tomorrow is the OCTA (the Ohio Community Theatre Association) regional theatre competition, at the Troy Civic Theatre.

We have the final rehearsal tonight.

Then tomorrow:
GAME ON!


MOVING INTO THE NEXT PROJECT:
Dayton Playhouse FutureFest 2017
SOUND DESIGNING ICON

Meanwhile, production meetings between the directors and myself for FutureFest 2017 have happened, or are about to happen.

Last night I met with the Dayton Playhouse sound and light technical director (don't know if that's his actual title, but, it's essentially what he is), Bob Kovach, and he got me familiar with the sound system, or at least he got me started -- the rest is up to me.

And I don't want to think about the fact that I haven't really started to attack these sound designs, and the festival is two weeks from today.

But, no pressure!



Sat, July 8, 2017

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OCTA REGIONAL, TODAY AT THE TROY CIVIC THEATRE:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
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GAME ON!


Thu, July 20, 2017

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CATCHING UP





OCTA REGIONALS AT THE TROY CIVIC THEATRE:
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
SOUND DESIGNING ICON
SOUND TECH ICON

As some will know, we took The Last Lifeboat to the OCTA Regionals in Troy Ohio on Saturday, July 8, and I must say it did rather well. In fact, it was chosen to go to the State Conference labor day weekend, in Columbus, Ohio. Several involved also received awards:

    • Excellence in Ensemble
    • Jeff Sams Excellence in Directing
    • Matt Lindsay Excellence in Acting
    • Mike Beerbower Excellence in Acting
    • J. Gary Thompson Merit in Acting
    • John Faulkenbach Excellence in Light Design
    • Carol Finley Excellence in Costume Design
    • Marley Masterson Excellence in Properties

So, that's pretty cool. The Beavercreek Community Theatre's production of Vanya and Sonia and Masha and Spike will also be going to State. This is an interesting situation for several actors in both shows, as some are cast in the Guild production of All My Sons, which will have a 5:00 performance that day, while others are cast in Urinetown at Beavercreek, which has a 3:00 show that day. Beavercreek has been granted first performance of their excerpt that morning, at State, and DTG will be next.

That situation is, in itself, an interesting situation for one of the actors. Casandra Engber is in both Lifeboat and Vanya, which wasn't as much of a delima in Troy as the two excerpts were not back-to-back. But, Casandra is a consummate professional, so she'll do just fine.

Oh, yeah...it seems that the sound designer got an award, too.


SO, THAT G@|)/\/\/\|\| GREMLIN DECIDED TO SHOW UP AGAIN!:
ALL MY SONS & Dayton Theatre Guild combined logo.
DTG Producer icon

PRODUCTION GREMLIN ICON
Skype icon - http://www.skype.com
Like we have several times in the past, we are utilizing dialect coach D'Arcy Smith to work with the cast to place everyone in the same midwestern U.S. region. D'Arcy conducts sessions with cast in Skype sessions. We've done it several times in the past, wth great success.

This time, it was not so successful, at least not at first, and at least not in a Skype session. We (*and when I say "we," I mean "I") could not get Skype to work on the DTG laptop. That was weird because it had worked before on the laptop, but not this time.

Then we* tried do a facebook cam-to-cam but could not get the laptop camera activated in facebook. What we ended up doing was a FaceTime session on my iPhone, with each cast member passing the phone around. It wasn't quite the same as a Skype session on the laptop, but it did work.

SOUND DESIGNING ICON
I Haven't really started working on sound for this show yet, except that I have a pretty good idea what the design concept will be for the top of the show. Scene change music, though, is a mystery to me at the moment, but I do know it's all from the early/mid forties.

I start working on this sound in earnest when Futurefest wraps *(see next)


MOVING INTO THE NEXT PROJECT:
Dayton Playhouse FutureFest 2017
SOUND DESIGNING ICON
SOUND TECH ICON

FutureFest 2017 officially kicks off tomorrow evening. There will be a pre-festival event tonight: the dramatic reading of Peter Filichia's play, Adams' Gift.

Of course, the most relevant news, concerning me, is that it's most likely that the sound design I have done for five of the six plays, showing over the course of the festival, is finished. I can't say that I was completely panicked that the designs wouldn't be finished, but I was pretty sure it'd be down to the wire, and I was correct.

Believe me I've had pretty much no spare time since I agreed to this task. First i was dealing with the OCTA entry of the excerpt from The Last Lifeboat, *(see above), then it was onto this with full effort and only down time when I forced myself to steal moments -- 'cause, you know, you gotta do that sometimes.

The kind of bad news is that I am now likely to be in the booth running more than just one show. I was requested to run one, and was not to run any of the other four I am connected to (and the sixth show is being run by its sound designer). But because of some misunderstandings about show times there may be conflicts that leave at least two other shows without a sound tech. Also one other has some pretty heavy audio/visual needs so I will be in the booth to be sure all the cues are covered. So, I'll probably only be in the audience for two of the six shows, and I'm not enthused about that, at all, but, the shows need sound techs.



Tue, Aug 1, 2017

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CATCHING UP
AGAIN





THE 17/18 FRESHMAN SHOW IS INTO PREPRODUCTION:
ALL MY SONS & Dayton Theatre Guild combined logo.
DTG Producer icon
Skype icon - http://www.skype.com
TOYS ICON
Bose Companion 20

Haven't done much for the show and don't have any updates about the rehearsal process, which has begun in earnest. This past Thursday night we did have the follow-up session with dialect specialist D'Arcy Smith via a successful Skype session (finally) on my MacBook Pro.

I also just bought the Bose Companion 20 external speaker system for my laptop and they are what the kids are calling "Suh-WEET!" I'd already used them a bit over the last several days and they came in quite handy during this dialect session as they made it that much easier for the whole room to hear D'Arcy well.
xxxx
xxxx
xxxx

SOUND DESIGNING ICON
Still haven't really started the sound design but that happens any minute now. It'd better: Tech Sunday is only twelve days away.


SIX MORE NEW PLAYS:
Dayton Playhouse FutureFest 2017
SOUND DESIGNING ICON
In the audience - Not in the audience animated gif icon
SOUND TECH ICON

xxxx

FutureFest 2017 at the Dayton Playhouse weekend wrapped Sunday, the 23rd. We in attendance were exposed to six fine new plays as part of the festival-proper, and a seventh, the pre-festival event that featured a dramatic reading of Peter Filichia's play, Adams' Gift: Peter's take on Dicken's classic A Christmas Carol.

As you five (or is 4.5?) regular blog visitors may know, via my recent whine-fest about it, when I came on board to design sound for five of the six official FF productions, I was requested to run the sound for one of them, and was only supposed to be in the tech booth for that one show -- that being Olga Humphrey's Magnificent Hubba Hubba. However, due to a scheduling conflict the person who was supposed to run the other four of my five shows had to miss one, and the complexities of running both sound and a projector for another of them meant it'd be better if I was in the booth to help with that one. So, I was in the booth for half the shows as opposed to only one show. C'est la vie, no?

As I stated above, it was a fine crop of plays, with Ms. Humphrey's play was both the selected winner by the adjudicators and the one voted audience favorite.

Here are all the six shows that competed over the FF17 weekend:

On Pine Knoll Street - fully-staged performance
By Mark Cornell
Directed by Richard Lee Waldeck
Assistant Director: Jamie Pavlofsky
Friday, July 21, 2017 at 8 PM

Synopsis: Thelma is a colorful and quick-witted 87-year old woman struggling with her memory. Her devoted daughter Marilyn, with whom she now lives, is trying to make the best of the situation. When Marilyn asks her neighbor Curtis, a struggling writer and stay-at-home father, to care for her mother and her beloved cats while she is at the beach, it sets in motion a friendship that tethers two families. Funny and heartbreaking, On Pine Knoll Street is an intimate look at the joy and fragility of life, the meaning of home, and the things we do for love.

THELMA - Renée Franck-Reed
MARILYN - Cheryl A. Mellen
CURTIS - John-Michael Lander
KRISTIE - Kari Carter
MITCHELL - Raef Norgaard

Director Richard Waldeck both designed and ran the sound for this show.


First, Do No Harm - staged reading
By J. Thalia Cunningham
Directed by Jackie Darnell
Saturday, July 22, 2017 at 10 AM

Synopsis: Our recent election galvanized a tsunami of concerns about race and healthcare. The CDC reported black Americans suffer higher rates of disability and preventable diseases than non-minorities. While blatant discrimination is no longer rampant, stereotyping persists. Hospitals emphasize the need for cultural diversity but, perhaps, have fallen short. Inspired by a real case, FIRST, DO NO HARM is the story of two African American mothers journeying along parallel paths of grief and guilt. It doesn't attempt to answer the questions raised. There are no easy answers, and no single clinical guideline is useful in unraveling the spectrum of human physical, mental, and emotional response to illness.

DR. ELISSA KERRY - A.Slate
DR. ALISON TAYLOR - Shanna Camacho
MATTIE CLESTER - Joyce Barnes
DWAYNE HATCHER - Kip Moore
FEMALE ACTOR - Jennifer Lockwood
MALE ACTOR - Keshawn Mellon
NARRATION - Charlotte Harris

This was one I ended up running sound for because of scheduling conflicts.


Wake - staged reading
By Vince Gatton
Directed by Tim Rezash
Saturday, July 22, 2017 at 3 PM

Synopsis: Dan and Eric have a new marriage license, a new baby, and a new house in the country. As they settle into this new life, Dan is having what seem to be sleepwalking episodes. A ghost story told by a young visitor leads Eric to suspect that Dan's sleepwalking is actually something far more sinister -- but is it what he thinks it is? Or are there other forces at work? Wake is a ghost story for the post-AIDS generation, a play about marriage, expectations, and the power of narrative to both heal and harm.

DAN - Brian Sharp
ERIC - Mark Sharp
TERRELL - Michael Groomes
ESME- Shyra Thomas
CHARLIE - Jason Penix


Magnificent Hubba Hubba - fully-staged performance
By Olga Humphrey
Directed by Annie Pesch
Saturday, July 22, 2017 at 8 PM

Synopsis: A teenage boy tracks down his downtrodden, fiery, and foulmouthed idol -- "The Magnificent Hubba Hubba" -- an old-time woman wrestler now over 70 and working as a greeter at a hotel casino. He aims to set up the rematch of the century between her and her arch rival of years gone by. But what he really wants is to win the love of her estranged granddaughter, a high school wrestling star who hates his guts. A comedy about how true passion never grows old, and sometimes the best partnerships are the most unlikely ones.

LUCILLE - Becky Howard
ROY - Thomas Troutman
ALICE - Fran Pesch
LULU - Hannah Stickel
ZANE/ANNOUNCER - David Hallowren
WANDA, NADYA, YOUNG LUCILLE, REFEREE - Melissa Ertsgaard
TEDDY, NURSE, YOUNG ALICE, HOSTESS - Shanna Camacho

This is the one I had agreed to run sound for.


The Spanish Prayer Book - staged reading
By Angela J. Davis
Directed by KJ Melson
Sunday, July 23, 2017 at 10 AM

Synopsis: In 2007, a committed atheist inherits a collection of rare and extremely valuable illustrated Hebrew manuscripts, including a prayer book from fourteenth-century Spain. Financial struggles and a child's recent hospitalization favor an initial plan to auction the books. A moral dilemma, historical mystery, and matters of the heart converge, however, following the discovery that the books, which bear witness to overlapping Jewish and Islamic traditions, were stolen, some six-hundred years after their creation, from a library in Berlin. Inspired by true events and a late twentieth-century court case, and using images from the books themselves, the play explores the allure of sacred manuscripts, the ethical issues generated by cultural treasures displaced during wartime, and the power of art to forge human connections.

JACOB ADLER - Jim Lockwood
JOAN ADLER - Cynthia Karns
MICHAELA ADLER - Kerry Simpson
JULIEN NAZIR - Matthew Lindsay
ALEXANDER ADLER/CHRISTOPHER HOWELL - Jonathan Horwitz
CHANNA WILD - Karin Henhapel
ASSISTANT/LAW CLERK/Stage Reader - Niccole Sue Ann Wallace
Understudy/Stage Reader - Michael Juergens


The Puppeteer - fully-staged performance
By Desireé York
Directed by Kip Moore
Sunday, July 23, 2017 at 3 PM

Synopsis: When Constance, a 1920's jazz singer, chooses to stand on her own, not only is her name carried on through multiple generations, but so is her determination to find an identity in an ever changing world. Spanning five generations, starting in the Harlem Renaissance and ending in present day, the women from one African-American family struggle to overcome the roles assigned to them by society in order to find their way home.

CONSTANCE/CONNIE - Carolyn Seymore
ROBERT/CHRISTOPHER - Jacob Smith
ERNIE/MR. HOTCHKISS - Michael Schumacher
MISS DUNSTON - Chelsey Hall
MRS. COVINGTON - Corrine Duperree
MS. JENKINS - Tamar Fishbein
MS. EVANS - Vicki Thompson Tuccillo

I was in the booth for this one because of the tight timing between some sound and projector cues. The sound tech was charged to handle both, and few spots were tricky if one had to do both, so I was in there with him to cover those moments.

Nope, no pictures this year. I didn't take one photograph. Don't ask me why. I just didn't.


THEATRE AWARDS WEEKEND:
Daytonys - Dayton theatre Hall of Fame
Dayton theatre Guild Murphy Awards
Moving into mid-summer it becomes time again for the theatre awards time period. For The Guild that was this passed weekend, first with our involvement in the Dayton theatre community in general at the Dayton Theatre Hall of Fame Gala & Daytony Theatre Awards Ceremony, Saturday night, then with our in-house Murphy Awards Presentation on Sunday afternoon as part of our annual smorgasbord gathering.

On Saturday, three people were inducted into the Dayton Theatre Hall of Fame: Jennifer Lockwood, Gerri Nichols, and Sheila Ramsey. The only of these I have any real theatre connection to is Jennifer. We have shared the stage twice, I believe, and she has been in cast or crew of a few other shows where I was either producer, sound designer, or both. Jennifer's home base is The Dayton Playhouse, where my connection, thus far, has always been FutureFest, and where she constantly serves on the FF committee. Gerri is an elder statesman and costuming guru at Troy Civic Theatre. Sheila Ramsey, I have met in the past, but we've not been involved in any productions together, as her involvement has been mostly at the professional level for quite some time, and by the time I started entering into that world, her health had caused her to drop out.

CONGRATULATIONS!
Well, a tip of the hat to Jennifer, Gerri, and Sheila, as well as all the actors, directors, and designers who won Daytony and Murphy awards. For that matter, congrats to all those who have won or are about to win awards at other theatres in the area.


GENERAL TECHIE STUFF ICON
MORE
TOYS ICON
xxxx
Okay, not so much "More Toys" as "another toy." For a while now, at the old, humble homestead, I have frequently had problems connecting my MacBook Pro to the internet. I have an older build (mid 2012) and enough Wifi routers have popped up in neighbors' homes that my laptop often can't overcome the traffic jam during peak times, even though my laptop usually sets only about four or five away from my wireless router.

My iPhone and my Apple TV are newer, so the receivers in them are not hindered. But my laptop receiver is being hindered. My AirPort Express router isn't sending a strong enough signal to overcome all the other traffic. I'm not going to buy an new laptop just yet, so I bought a new AirPort Extreme instead.

The new AirPort Extreme boasts at least three times the speed of my old AirPort Express, and it has six antennas: three for the 2.4GHz band and three for the 5GHz band. so far it has cured the "unable to connect to the network" messages. I seemed to come close to getting one the other night. If I do get one, I will be unhappy.

The next toy, which I will buy soon, will be a replacement CD and AM/FM receiver for my car -- my current one often, usually, quites playing a CD right in the middle of a song. That is intolerable to me.


MARJORIE PRIME logo.
The audition specs for Marjorie Prime are now available.

See below in the DTG auditions section.



Fri, Aug 18, 2017

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Opening Today

ALL MY SONS by Arthur Miller, at The Dayton Theatre Guild.

Click here for the promocast of the show



Sun, Aug 20, 2017

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CATCHING UP
AGAIN
It's About Damn Time! -- with frowning eyes graphic
BEEN DOING STUFF
Once again, it's been a while since I posted here -- (the Friday, Aug 18 post about the opening of All My Sons is a retrospective post, put up at the same time as this one). So, there's some All My Sons catch-up, as well as catch-up on other subjects, including a whole slew of "In Memorium" to various artists who have passed away this summer.


SUCCESSFUL OPENING WEEKEND:
ALL MY SONS & Dayton Theatre Guild combined logo.

Though I wasn't there for most of it, I know we've had a successful opening weekend and that the audience response has been about as postive as it can get. I was there Opening Night, but as is virtually always the case, I could not attend to the performance in any meaningful manner since I was the house manager and had other things to attend to: such as setting up the refreshments for intermission, then cleaning that up, then setting up for the Opening Night Gala, as always, featuring wine and, courtesy of Wheat Penny Oven & Bar, gourmet pizza. One other great thing about Opening Night is that it was a sold-out crowd! I can't speak audience size yesterday or today, but I know from various cast and crew that the performance went well last night; there's no reason to think it won't today -- the performance is happening as I typed this and as I transferred today's entry to the server.

xxxx
Young Noah Rutkowski (Bert) gave me this model of a P-40 fighter plane, (which is relevent to the story of the play), as a gift. I have it displayed at the box office station for the moment.
Bias as I may be, this is a stellar production with some excellent work from the cast members. I think all the various design work is grand, too. The crew is doing great, as well.

SOUND DESIGNING ICON
PRODUCTION GREMLIN ICON
Show Cue Systems icon - http://www.showcuesystems.com/
Yep, another one of those GREMLIN stories. That little bastard just likes to be a menace! Recently, I upgraded the theatre's version of our sound cue software, Show Cue Systems, and installed said upgrade on all of the theatre laptop, which I used when we took All My Sons to the OCTA Regionals, on my laptop, so I can work on programming sound designs away from the theatre, and on the desk top computer we use to run sound in the tech booth. The upgrade works fine on both laptops. However, there is some sort of conflict on the desk top that does not allow one to properly assign channels beyond two. I had to uninstall the upgrade and revert back to the previous version. There are a few new features in the upgrade that I like, too. When I have time, I will research a solution.

DTG Promocast Production logo
Of course, by this time, the promocast will have made final cut and be posted, and it is. I went for muted color treatment to give it the look of early color movies, since the era just post-WWII. I also did a sepia version, but the muted color version is the one that works.

Click here for DTG Promocast 1718-01 All My Sons.


OHIO COMMUNITY THEATRE ASSOCIATION STATE CONFERENCE:
SOUND DESIGNING ICON
SOUND TECH ICON
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.

Those who've visited here before, and any Dayton theatre people who might be reading this, may know that The Dayton Theatre Guild is taking an excerpt from Luke Yankee's The Last Lifeboat to compete at the 2017 State Conference of OCTA (the Ohio Community Theatre Association). That will be Saturday morning, Sep 2, this coming Labor Day Weekend.

We have a few tech rehearsals in the days leading up to the competitive performance. This time I will be running the sound from my laptop, since the DTG laptop is technically engaged for the All My Sons production -- we run the lobby movie from that laptop.


AUDITION ICON
I do have my eyes focused on some theatre auditions coming this season, some further off, some, closer.

I was invited by the director to audition for a show a little later down the road; that, of course, is not an indication that I have a lock on the role, but it does mean I have some kind of a decent shot. It's a good role, too. There's another show this would be a conflict with, but I don't know much yet about the second one, so I can't yet measure the conflict I might have between the two.

I'm looking for movie auditions, too.


In Memorium
RIP Adam West, Sep 19, 1928-June 9, 2017
RIP June Foray, Sep 18, 1917-June 26, 2017
RIP Martin Landau, June 20, 1928-July 15, 2017
RIP George Romaro, Feb 4, 1940-July 16, 2017
RIP John Heard, March 7, 1946-July 21, 2017
RIP Sam Shepard, 11/5/1943-07/27/2017
RIP Glen Campbell, 04/22/1936 to 08/08/2017
RIP Dick Gregory, Oct 12, 1932-Aug 19, 2017
RIP Jerry Lewis, Mar 26, 1926-Aug 20, 2017



Fri, Aug 25, 2017

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SOUND DESIGNING ICON
SOUND TECH ICON
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
We've had one rehearsal for the upcoming 2017 OCTA State Conference. There are two scheduled during the week, next week. Then, Saturday morning, we hit Columbus, Ohio and do the excerpt.

I ran the sound off my laptop and through the Bose Companion 20 external speaker system I picked up earlier this month. It's not quite the powerhouse I need for these rehearsals. But I happen top have rented a more powerful external speaker system to run music from at my high school reunion, which will be this weekend. I had to pay a minimum rental fee for two weeks, so I might as well keep it to use for the last two rehearsals.


MARJORIE PRIME logo.
The cast of Marjorie Prime has been confirmed. Here it is, in order of appearance:

    CHARACTER
               ACTOR
    Marjorie
               Barbara Jorgensen
    Walter
               Ryan Shannon
    Tess
               Wendi Michael
    Jon
               K.L.Storer
Obviously, when I wrote in the last post about auditions I planned to do that were "closer," this was one to which I was referring. I'm looking forward to this. I like the script and I like the character. To be honest, Jon is not the most challenging role I've ever had, nevertheless, he's still a good role. One can also argue that the casualness and the comfort and familiarity that Jon and Tess (Wendi Michael) have are not as easy to get to as are things like abject friction, anger, and other strong emotions and situations. That's stuffs fun, and lesser actors can move over into over-acting, easily. But, getting the subtle stuff right is much more difficult --

-- So, I guess maybe there are some challenges to Jon, after all.



Wed, Aug 30, 2017

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AND THE REHEARSAL PROCESS HAS BEGUN:
MARJORIE PRIME logo.
In REHEARSAL icon

We had our table read Monday evening and last night was our first blocking rehearsal. Tonight is number two. There's one tomorrow but I'm not called.

Being off-book isn't required for three more weeks, but I would hope I am virtually off-book well before then. I have begun creating the infamous flashcards of my lines and their cues.

xxxx
xxxx
Outside the rent-payer, during a lunch break last week, when I began to create my line-study flashcards.



2017 OCTA STATE CONFERENCE:
SOUND DESIGNING ICON
SOUND TECH ICON
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.

Tomorrow night will be the last rehearsal night before the performance of the excerpt this coming Saturday morning at the conference in Columbus.

There was a rehearsal Monday evening at the same time that I was in the Marjorie Prime read-through, so, I managed to get the invaluable assistance of Sarah Saunders, who has been a frequent sound tech for many of our productions the last couple seasons, and in fact, for all but one of the shows for which I have designed sound. Monday evening Sarah was my pinch-hitter, covering the operation of sound while I was in a close by room, being an actor.

She and I did a dry tech rehearsal before both the Lifeboat and Marjorie rehearsals began, and I have no doubt that she rocked it on the board for them. Tomorrow night, I am back on the board for Lifeboat, since I am not called for Marjorie.


AUDITION ICON
I will be auditioning in the near future for another theatre production that will be up later this calendar year.

Who knows, I may just end up going into rehearsals for this next one shortly after rehearsals for Marjorie wrap, if not directly afterward. That is not what I would identify as "a problem."

If I am not cast in that one, there's another one auditioning soon I may go after.


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

There is another adult acting class coming up at The Human Race Theatre Company, again with Ms. Jennifer Joplin as instructor. Unlike the last scheduled class, which was to be at an advanced level, this one is billed as being for "mixed levels of experience." That advanced class was unfortunately cancelled before it started, due to lack of sufficient enrollment -- and I was disappointed. If you are one of the few who occasionally follow this blog, you may know that I enrolled pretty much as soon as the class was posted.

This new one runs Sep 25-Oct 30. I have contacted Ms. Joplin about accommodations for the first two sessions, since I'll still be in rehearsals for Marjorie, and arrangements have been made for me to leave class early those evenings. We also discussed me getting more advanced work than other, less-experienced of my classmates.

If I am cast in that next show I will be auditioning for, I will make the accommodations with that director, since these classes will already be on the calendar.



Sun, Sep 3, 2017

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REHEARSALS CONTINUE:
MARJORIE PRIME logo.
In REHEARSAL icon
Not much really to report. Had my second blocking rehearsal Wednesday evening, this one just Wendi Micael (Tess) and I. Director Jared Mola blocked a portion of one scene, and we then did table work on another scene later in the show that we'll be blocking later.


Closing Today

ALL MY SONS by Arthur Miller, at The Dayton Theatre Guild.

Directed by Debra Kent
Produced by K.L.Storer

During World War II, Joe Keller and his business partner were accused of knowingly shipping damaged airplane parts that led to the deaths of 21 servicemen. While only his business partner, Steve Deever, was convicted of the crime, Keller was guilty as well. When both the Keller family and the Deever family find out the truth, it damages even further the relationships among the children of both families, resulting in the Keller son's confrontation of his father. This play received the New York Drama Critics Circle Award for Best Play.

The Cast of ALL MY SONS

CHARACTER
           ACTOR
Joe Keller
           David Williamson
Kate Keller
           Rachel Oprea
Chris Keller
           Jeff Sams
Ann Deever
           Kari Carter
George Deever
           Mike Beerbower
Dr. Jim Bayless
           Rick Flynn
Sue Bayless
           Adee McFarland
Frank Lubey
           Todd Rohrer
Lydia Lubey
           Heather Atkinson
Bert
           Noah Rutkowski

The Promocast for ALL MY SONS



2017 OCTA STATE CONFERENCE:
SOUND DESIGNING ICON
SOUND TECH ICON
THE LAST LIFEBOAT & Dayton Theatre Guild combined logo.
So yesterday morning Jeff Sams took his The Last Lifeboat cast, and some crew, to The 2017 Ohio Community Theatre Association state conference in Columbus, Ohio where the cast gave a stellar performance of the 30-some-minute excerpt that crossed over from the end of Act I into the beginning of Act II.

Of course, I was the sound tech for that performance and it went well. I had to adjust some sound levels on-the-fly but it was not a problem. I did have a few tech problems during the final tech/dress rehearsal Thursday evening. For some reason the software stopped executing the cues. I had to restart the DTG laptop to get it to function again. Another problem was the sensitivity of the trackpad; because of that I erroneously set a wrong cue as next during the run, but simply slightly touching the pad with a finger. Yesterday at OCTA a made absolutely sure I did not unintentionally touch the pad.

As for what the rating for the performance at OCTA is, I don't think that is announced until tomorrow morning.


AUDITION ICON
Will be shortly auditioning for one of those theatre productions that is up later this calendar year.


THE CHRISTIANS logo.
DTG Promocast Production logo
Copyright © Symbol icon
I have made my initial outreach to playwright Lucas Hnath to request clearance to use text from The Christians in the promocast.



Walter Becker, Feb 20, 1950-Sep 3, 2017
Steely Dan is my second favorite band, right behind those Liverpool lads. The amazing, genius work that Walter Becker and his cohort, Donald Fagen, put out on SD's nine studio albums is astounding. A lot of the deliciously dark, sardonic wit infused into much of their work came directly from the mind of Mr. Becker. Plus, the guy could play!

Here's to Walter, who help formed my musical sensibilities.



LABOR DAY, 2017

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A Dozen Reasons to Thank Unions - weekends, collective bargaining, sick leave, paid vacation, overtime pay, child labor law, social security, pensions, unemployment insurance, 8-hour workdays, safety laws. (afscmemn5)
*Obviously, I appropriated this graphic meme from AFSCME Council 5    
Happy Labor Day


Thu, Sep 7, 2017

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OCT-DEC, 2017



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

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



THE REHEARSAL PROCESS CONTINUES:
MARJORIE PRIME logo.
In REHEARSAL icon
THE ACTOR PREPARES ICON

Blocking rehearsals continue. Tuesday night it was Barbara (Jorgensen), Wendi (Michael), and myself -- or, Margie, Tess, and Jon. Last night it was just Barb and me. Tonight I am not called.

My electronic calendar designates each rehearsal as being 7:00-9:30 pm. I have yet to not leave before 9:30, and usually well before 9:30. Our trusted director, Jared Mola, is not assigning a heavy page count for these blocking rehearsals. It's usually just a few pages and we have time to make adjustments as needed as well as to run what was just blocked at least twice, if not more. Last night, the scene was blocked and we ran it three times, and we were out of there before 8:00.

A couple of nights we've even been able to revisit scenes previously blocked and still get out less the two hours after we started. And, I am not complaining, whatsoever. I've been abe to get home and work on line memorization and not get to bed after midnight.

On the 18th we start running the numbered sections (which we are calling acts, though I don't think they technically are such). The rehearsals will start getting longer. At some point we will be hitting two or two and a half hour rehearsals as we start doing the full runs. Though I'd say this one-act play probably runs about ninety minutes when at performance level and speed.



xxxx
Here on the left is what the stack of flash cards for my lines for the show looks like. Fortunately, some of those lines are as simple as "What?" or "Of course," or "It was." And a few are cards to prompt me for internal dialog responses.

For those who don't know, I put the cue line into my line, or in couple instances, my non-verbal, reaction, such as a gesture of "what?", on one side, then put my line or non-verbal response, on the other. It's one of the ways for me to work on lines. I can grab a handful any time, including certain times at work, when I have to take a walk somewhere, and drill. I usually use them to run my lines before performances during the production run, too.

I also use them in bed before I go to sleep. I have heard and am invested in this theory that if I'm working on memorizing lines right before I go to sleep my mind will process them at some point in my sleep. It may not be true, but it's still not a bad time to work on the elusive off-book goal.

Also, and I think a very important aspect, is that I know the act of hand-writing both my cues and my lines, etc., does help with both familiarity and in some important ways is an early part of the process of script analysis for me. I have some time to contemplate what my intent might be as I am writing the lines. There's also this inherent connection made with my consciousness in the act of physically handwriting the words.


LAST LIFEBOAT by Luke Yankee - Dayton Theatre Guild - at the Ohio Community Theatre Association 2017 State Conference

SUCCESS AT THE 2017 OCTA STATE CONFERENCE:

I'm delighted to report the success of the show at the conference. We took home eight awards:

  • Jeff Sams - director (Meritorious)
  • Acting awards:

  • Matt Lindsay - Bruce J. Ismay (Meritorious)
  • Gary Thompson - multiple characters (Meritorious)
  • Mike Beerbower - multiple characters (Excellence)
  • The cast ensemble (Excellence)
  • Design awards:

  • Carol Finley - costumes (Meritorious)
  • Jeff Sams - scenic design (Outstanding)
  • K.L.Storer - sound design (Outstanding)

To Jeff,
the actors,
and Carol
:       CONGRATULATIONS!



AUDITION ICON

There is an audition appointment for a two-hander production looming on my horizon.


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

Earlier today I officially enrolled in the upcoming The Human Race Theatre Company adult acting class, which again has the talented Jennifer Joplin at the helm.

As I wrote before, Jennifer is going to excuse me early from the first two session since they are the week before and then Tech Week of Marjorie Prime.



Mon, Sep 11, 2017

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91101 Emblem

NOT JUST
poems and essays on
September 11, 2001






Thu, Sep 14, 2017

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PRIMING MARJORIE, WEEK #3:
MARJORIE PRIME logo.
In REHEARSAL icon

Blocking rehearsals are now officially wrapped. The last of the show was blocked last night. It was a scene between Tess (Wendi Michael) and Jon (myself). The night before Wendi and I were also called for another Tess and Jon scene. Monday it was Tess and Marjorie (Barb Jorgensen). Tonight we are dark because it's our director's birthday -- so Happy Birthday, Jared!

Our next rehearsal is Monday, when we start doing runs, and start to focus more on the character development, i.e.: the acting, not that we already haven't been working on the acting. But now that we have the "cross stage right to behind the sofa" sort of things out of the way, we can start more deeply focusing on the emotional intent sort of things about our characters.

During the blocking rehearsal phase the scenes were all done out of sequence to keep any particular actor from being called for just a brief portion of the rehearsal -- and think also to take into account some schedule conflicts there might have been. Sometimes only portions of a particular scene were dealt with during a given rehearsal. Starting with the runs on Monday, of course, we will not be doing the show in disjointed segments. Monday will be what we are identifying as "Act I," and Tuesday is "Act II."

THE ACTOR PREPARES ICON
As for my off-book progress, I'm not doing too badly. I'm through all my scenes, and if I were to assign a quantitative marker, I'd estimate I'm somewhere between 75 to 85% off-book, perhaps a little higher, but not quite yet into the high nineties. Certainly I'm in good shape to make the off-book deadline of September 20. The corners of my flash cards are becoming dogeared, which is a good sign.

Also, I think that Jon Brody (my character) needs some background. For instance, there's no indication in the script, whatsoever, of what his occupation is. We know he's a college graduate, since he and Tess met in college, and somehow I get the sense that the Brodies are, at least, upper middle class. I just need to decide how he's employed.

Plus, I feel a need to create a family background -- all we know for sure from the script is that his mother is dead. Does he have siblings? Where's he from. In fact, where do he, Tess and marjorie live? There's no indication even of what country they are in, much less what city. For some reason, I want to place this thing in Canada, if even just in my own defined reality of the play's universe.

Though the script does not specifically state it, it is still easy to calculate that the play begins in 2062, because Marjorie is eighty-five and she says she was born in 1977. The fact that it's a little bit past mid-twenty-first century does inform some on where I can go as far as settling on an occupation, and might even help come to an idea as per his geography as well as that of the placement of the story; in fact, I may be able to conjure a geopolitical landscape for myself, as well.

Well, that's some of the stuff my weekend will be made up of, along with further work toward off-book.


TUESDAYS WITHOUT MORRIE...:
AND IT'S ON TO THE NEXT AUDITION ICON

...Or, more specifically, "Tuesdays without me as Morrie."

Thursday of last week, I auditioned for the role of Morrie Schwartz in the play, Tuesdays With Morrie, by Jeffrey Hatcher and Mitch Albom, and based on Albom's book of the same title. It's an account of his relationship with his college professor, Morrie Schwartz. The story centers on visits Albom made to Schwartz's home every Tuesday, during the last few years of the teacher's life, as he was dying from ALS.

The play is being produced by the Young at Heart Players, and will show at the Dayton Playhouse, this coming Nov 17-26.

This, of course, was the audition for a two-hander I mentioned in the September 7 blog entry as "looming on my horizon." But, alas, I am not cast.

I was assured that I "auditioned well," however, I only felt luke warm about my audition. It wasn't horrendous, necessarily, but I didn't feel like I killed it. Part of that is that I needed to give the director, that being Ms. Fran Pesch (the theatre company founder), a good example of the debilitated Morrie, at the end of his life, in the last pages of the script.

I hadn't thought to anticipate that it likely would be a part of the audition, so I didn't really prepare, and that was rather silly of me, and pretty much an amateur mistake I can't readily excuse.

My impromptu effort on the spot, at the audition was, in my estimation, pretty lame. Kind of points to a need to sharpen my improv skills, which have clearly dulled quite a bit.

That I am not cast is not a surprise to me.

Another audition, you ask?:

Yes, there's at least one coming up relatively soon, perhaps more than one. And there certainly are some on down the pathway this season. There are a couple roles I definitely have my eye on.



Mon, Sep 18, 2017

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MARJORIE PRIME logo.
In REHEARSAL icon
THE ACTOR PREPARES ICON
No rehearsals since last report, but I have done some woodshedding toward the off-book goal. There are still those sticking points, those lines that just seem to stubbornly avoid perfectly locking into my memory cells. Every script I've ever worked on has had them, as I know is a common occurrence for many other actors. Still, I'm virtually completely off-book, so that's not bad.

As was pointed out to me by a fellow theatre person this weekend, since the show doesn't open until October 6, I am more than in good shape. As I wrote before, our first stumble-through is this Wednesday, and I am not the least worried -- though the perfectionist in me will, no doubt, be unhappy when I'm not pure verbatim.

The planned background/history work on Jon did not happen this weekend, but I still have time to figure that out. I should probably get with Wendi on some things anyway. I should see if she has picked a college. It's understood that Jon and Tess met in college, night as well be of like-mind about what that college is, despite that it's not something to which the audience would ever be privy. Still have to decide what the heck Jon's occupation is, too.


In the audience icon
Saturday night I went to The Human Race Theatre Company and saw the new musical Legendale, by Andrea Daly (music and book) and Jeff Bienstock (lyrics and book).

I'm joining the chorus of those singing the show's praises! It is a wonderful show with lovely music, a good book and great characters. I think it deserves a nice long Broadway run, then some years on tour. If you can, get yerself to HRTC and see this show. It runs till Oct 1.

The cast is kickin' some serious butt, too!


Harry Dean Stanton, July 14, 1926-September 15, 2017
Here's to one of the greatest character actors of the last several decades.


Wed, Sep 20, 2017

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FIRST OFF-BOOK STUMBLE-THROUGH, TONIGHT:
MARJORIE PRIME logo.
In REHEARSAL icon
GAME ON! icon

Monday and last night were our first runs of the sections (or, acts, if you will) with essentially the first half of the show being run Monday night, and the second half last night. I did reasonably well at not using my book for lines. I did have the book in my hand, but it was predominantly for blocking notes.

Tonight is the first stumble-through and, at the very least, I am not stressed out about it. I feel pretty confident about my lines. Oh, don't get me wrong, I will call for a line, and more than once, I am sure. I'll paraphrase some, too, which will perturb the perfectionist in me to no end, as my goal is always to say the lines verbatim from the pages of the script. We're doing the second part, which we did last night, tonight, due to a schedule conflict tomorrow night for an actor; this portion of the play is better to do without that actor, than the first part. So our first stumble-through for part one is tomorrow.

Seems weird to think that Tech Week is kicked off with Tech Sunday in just eleven days, and that Opening Night is not far behind, just about two and a half weeks from now!

THE ACTOR PREPARES ICON
I've started my background on Jon (Jon Brody). I have him a native of Chicago, born in June of 2008. He's the son of a Chicago policeman (Sgt. Mitchy Brody); his mother, Janet, was a health care administrator -- I haven't gotten more specific than that with her occupation, but probably will. He has one sibling, his sister, Teresa Brody-Powell, who is a real estate agent with her husband in Indianapolis. I haven't come up with an idea of where Jon, Tess, and Marjorie live in the time of the play, yet. There may be an indication in one of the scenes I'm not in that I have missed, since I've not studied those quite as closely as perhaps I should have. I also have his educational background, though I am not certain the disciplines O have as his degrees will stay as they are. And I haven't yet determined his occupation. There are few other details I have conjured up. I'm not finished yet, but he's better drawn and better filled out for me, already. By the way, between Wendi Michael (Tess) and myself, we decided that Jon and Tess met while attending undergrad at Northwestern University.


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

There was some danger that the upcoming adult acting class at The Human Race Theatre Company, being helmed by Jennifer Joplin, would get canceled due to insufficient enrollment. That bullet was dodged, however, and we are on for our first session, this coming Monday.

If you have read previous blog entries about this, you know that I've arranged with Jennifer to leave class early the first two sessions due to my 7:00 calls for Marjorie Prime, the second one, especially important as that is during MP Tech Week.



Fri, Sep 29, 2017

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On a Personal Note icon
Early, very early, Wednesday morning, September 29, 1982, I was in my twenties and was a raging, practicing alcoholic, and I was drunk; I was shitfaced, manic, insanely drunk. It was one of those drunken nights, which were becoming the norm in my life, where most of the night was irreversibly lost to the dank, dark, abyss of a series of blackouts. It was a night where my behavior was, once again, out of control. The police were called on me, as they should have been.

It was also my last drunk.

A year later, 9/29/83 I had achieved the unthinkable: I was one year sober. It was surreal. I was amazed.

A whole lifetime has passed since those days. It hasn't been a skyrocket to stardom or some such, and it hasn't all been happy fun time. But, I have faced everything without having to turn to a drink, or a joint, or whatever, which is a pretty amazing thing for someone like me.

So, today, I have reached Thirty-Five years sober. How grateful am I that I found a spiritual path and a plethora of kindred spirits that have made it a reality.


WE'RE COMING UPON TECH WEEK:
MARJORIE PRIME logo.
In REHEARSAL icon
Jeesh! So, Tech Sunday is this weekend! Opening Night is a week from tonight! This week as been mostly full runs, with one night that was dedicated to working portions of various scenes.

Last night: hmm, last night was one of those rehearsals! I blew lines I have never blown before. I never wholly went up, though I came close a couple times, stumbling and fumbling over a line -- which has NEVER given me a problem, previously -- and I did have to call for a line, once. I had been determined that I was done calling for lines....best laid plans, right? At least I only did it once. But the evening was riddled with line flubs on my part, or missed words, or paraphrases, most that were new for me. In the line notes email that Ms. Sarah Caplan (our stage manager) sent out, she just wrote to me:
KL, you're off the hook tonight because your notes fall into the category of stuff I know you know. If it's an issue during Sunday's run then you'll get a note.
Also, actor friends out there, ever felt like you tanked something in a scene but everyone else thought it was great? I (or, Jon) has a moment late in the play, an important and quite emotional moment. Last night I wasn't feeling it at all. I was just mechanically performing. It didn't feel the slightest bit authentic to me. I mentioned during post-rehearsal notes that I knew it was crap. Jared Mola, our director, and the whole room disagreed with me. So, there ya go. It brings to mind something I'll paraphrase from the brilliant actor, William H. Macy:

It doesn't matter what you (the actor) are experiencing in the scene -- it's what the audience sees your character experiencing that matters.

Tonight we are technically dark but some of the cast is getting together on our own at the theatre to run lines for a couple hours.

DTG Promocast Production logo
Also, have had a little preproduction for the promocast going on. Jordon Harrison did not grant clearance to use dialogue so I'm going with an alternative concept. This will be another montage of stills. I'm bringing Rick Flynn -- fellow actor, fellow DTG board member, and the house manager for the Victoria Theatre Association -- who is a fine photographer, to shoot the Monday evening tech/dress rehearsal.

Showing weekends
OCT 6-22, 2017
Tickets available...
DTG Buy Your Tickets Now


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON
The first session of the new adult acting class at The Human Race Theatre Company went well this past Monday. It was mostly an introductory, get to know each other evening. Jennifer Joplin, our talented facilitator, did let us know that we needed to quickly pick a monologue with some meat to it to work on. She does expect us to end up off-book for our monologues.

I'm likely to pick one of Joe Keller's monologues from either Act II or Act III of All My Sons. Once we get into the production runs of Marjorie Prime, I will have the time and space to get it memorized. Jennifer wants more than just the 60 seconds one would do for an audition; this is course work, so we get to play more in the moment and the character.

Guess I need to spend some time this weekend choosing the exact material.


AUDITION ICON
THE ACTOR PREPARES ICON
Soon I'll start reading a script for an upcoming audition, and I have just purchased another from Samuel French, which is on its way, for an audition that is a little ways off.




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