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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Mon, Oct 2, 2017

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TECH WEEK HAS BEGUN:
MARJORIE PRIME logo.
In REHEARSAL icon

Yesterday's Tech Sunday went pretty well. The cast call was at 1:00. There was a dry tech in the morning for sound and lights, which, for once, I did not need to be a part of. We actors, not called until later, first had a costume parade, followed by a cue-to-cue, then a dinner break, then a dress run.

As is often the case with that run toward the end of the long first tech day, the energy and the off-book quotient was a bit wonky for the cast as a whole. But it was far more, in terms of our lines, that we were flubbing them. I'd say there were less than a half-dozen instances of anyone calling for lines. Still, overall, the day felt good, or, at least, not horrible.


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

My Human Race Theatre Company acting class has been cancelled for this evening. I was going to attempt to pick my monologue for class (which would most likely be one of Joe Keller's, from All My Sons) during my lunch break today. Now I have a little longer to narrow it down.



Tue, Oct 3, 2017

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TECH WEEK CARRIES ON:
MARJORIE PRIME logo.
In REHEARSAL icon
I'm feeling pretty damned good about this show. I'm happy with my own work, with, of course, a few caveats, yet still, overall I am happy with my work; at least it mostly feels pretty good. I most certainly am in the company of damned good cast mates and production team members.

Last nights tech/dress run went relatively smoothly. I know for a fact that I dropped three lines. I also switched the sentences in another line, and I had to once correct a line because what i said was contrary to what needed to be said. But I did not correct it in a terribly good fashion.

The line is supposed to be, "Do you know your name?" I said, "Do you know my name," then immediately backtracked and gave the correct line. The thing is, I broke character and did an obvious line correction. What would have worked better was for me to stay in character and have Jon correct himself:

"Do you know my name, no, do you know your name?"
That would have kept it in the universe of the play and not have broken the fourth wall.

Overall, however, my work felt good to me, though there have been some times recently when it's felt better. I think all the cast was on this same page with me, so we were all a little surprised when our director, Jared Mola, said it was the best rehearsal thus far. It goes back to that William H. Macy quote, which I regurgitate here -- still paraphrased: It doesn't matter what you (the actor) are experiencing in the scene -- it's what the audience sees your character experiencing that matters.

That goes doubly, or, perhaps, threefold, for the emotional Jon moment, which was the cause of my invoking this thought in the first place in the Sep 29 blog entry. Once again, last night, I did not feel like I was bringing it off successfully. Apparently, i was incorrect, and I'm okay with that.

Also have to say that the design team (Chris Harmon: set; Allen Shotwell: lighting; Gary Thompson: sound; Kathy Mola: costumes; & Kelly Engle*) have worked some lovely stuff for the show, too. And let's not for get that often unsung hero of the theatre, the stage manager -- our's being Ms. Sarah Caplan.

DTG Promocast Production logo
A couple developments have occurred for the promocast. Last night, Rick Flynn came in and shot stills of Part 1 of the show, during our run. Those will make up the photomontage for the DV movie, with a couple additions that I will shoot tonight. I also have received clearance from Moby, through his Mobygratis website, to use a piece of instrumental music as the underscore for the video. I have used his service a couple times in the past. Tomorrow, I edit the promocast to final cut, and, I'm sure it will be on-line by tomorrow evening.

Marjorie Prime opens this Friday. I'll see you there,
      right?

*It may be Kelly "Wright" now. Kelly married Scott Wright this past Saturday, but I don't know if she is taking his name or not.


Tom Petty, Oct 20, 1950-Oct 2, 2017
Another voice from the soundtrack of my youth has gone silent.
Rest Mr. Petty, in peace.


Thu, Oct 5, 2017

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ELEVENTH HOUR:
MARJORIE PRIME logo.
In REHEARSAL icon

We reach our Final Dress Rehearsal tonight. Opening Night is only a day away. It doesn't seem like we should be this close, but here we are. I can say that I am most happy with where I am at, and I think the show as a whole is in a great place. Looking forward to getting this thing in front of an audience.

Last night's rehearsal left us all feeling damned good. On the other hand, the rehearsal Tuesday night was what could be called "lame." The energy was at an ebb and we all had more line problems than we have been having. A lot of the chemistry between characters in various scenes was weaker, too. I think it was just that inevitable last-stretch mediocre rehearsal that is quite common. Last night, however, was perhaps the best run we've done thus far. Nah, no "perhaps" about it; it was.

We are right where we are supposed to be: the only element missing is that audience.

DTG Promocast Production logo
The promocast, featuring the still photography work of one Rick Flynn and the music of Moby (courtesy of Mobygratis), has come to final cut and has been posted at the DTG YouTube channel as well as the DTG website and our DTG facebook page. As is usually the case, I took a vacation day from the rent-payer to edit the DV movie (yesterday). The edit went essentially pretty well, but there was one hitch. I got it edited to a final cut, had created the compressed version for the YouTube and was in the process of uploading to YouTube when I realized the dates of the run were nowhere in the movie. I had to add that information, then again go through the process of rendering the master filee and the compressed file. Set me back just long enough in my day that I could not make the gym as I had planned. But, it's done and it's out in the world.

Click here for the promocast



Fri, Oct 6, 2017

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Opening Today

MARJORIE PRIME by Jordon Harrison, at The Dayton Theatre Guild.

Click here for the promocast of the show

On Stage icon GAME ON! icon

Opening Night is upon us!

In REHEARSAL icon
Our Final Dress last night went quite well. Yes, there were imperfections, mostly line flubs of one sort or another, but, that's live theatre, with or without an audience. But the bottom line is that we are most definitely ready and eager to get this thing in front of a large group of eyes, and tonight.....:

AN AUDIENCE!

Hey! Come see the show tonight and you get to attend the Opening Night Gala, featuring gourmet pizza from Wheat Penny Oven & Bar, and wine!



Sat, Oct 7, 2017

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LAST NIGHT'S OPENING NIGHT PERFORMANCE:
MARJORIE PRIME logo.
On Stage icon

We had a good opening night. We all felt very good about our performance. We didn't quite have the virtual sold-out audience we thought we would, because some season ticket holders didn't show for their designated opening night slot -- which is not uncommon -- but we did have somewhere between a half and a three-quarter house, and it was a good, responsive audience. The audience members were quite complementary to us afterward, too.

There were, of course, the inevitable line flubs, but no catastrophes. My worst was toward the beginning of my first scene where I went up on a phrase and stumbled a little verbally to recover. In my mind I struggled to come up with a word or a substitute phrase to get the point across, and I managed to save it, and I think, in character. I did a straw poll later that supported what I suspected: that the actors in the audience could tell I'd gone up but the other audience members detected nothing amiss. A few other times I was less than verbatim from the script with my lines, but no cardinal sins were committed.

In the end I feel good about my performance, and I certainly think my cast mates did good work. I received a lot of kudos and praise from audience members. post-show, as did the rest of the cast.

So the ride has started, in earnest. This weekend you you have tonight at 8:00 and tomorrow at 3:00 pm to catch it.


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

This weekend I have to make my decision about the monologue for the Human Race Theatre Company acting class so I have it ready by this Monday evening. I'll probably do that this evening after the show -- well, after the cast and crew have gone out after the show. A Joe Keller monologue from from All My Sons is still the likely choice.


AUDITION ICON
I'll be reading a script over the weekend for an audition coming up shortly. Seems like I have to allot tomorrow morning for that. Plus I have received in the mail another script that I ordered for a future audition.



Mon, Oct 9, 2017

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FRESHMAN WEEKEND:
MARJORIE PRIME logo.
On Stage icon
fb post - "AAAAAAAAAAAAAAHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! -- Let's just say the perfectionist in me is pissed right now.

The screen shot is of facebook posts of mine, in between scenes, during the show Saturday. I had gone up on a word during my scene with Barbara Jorgensen and it clearly frustrated me. The line is: "Honesty, the secret weapon of the elderly." My brain would not grab hold of "secret." So it was:

Honesty, the secret...(pause of about 2 or 3 beats)...
The secret of the elderly.

I suppose it wasn't a horrible thing, and it's likely that the audience didn't pick up on it, that it probably seemed like written dialogue from the script -- but it was the second night in a row that I had something like that happen -- and I hate that crap.

Verbatim from the script is the name of the game for me and though I suspect that there will never be a 100% perfect performance by me, in that respect, it's my goal to come as close as possible. When I err on this, I'd much rather it be some sort of slight paraphrase or some slight syntax change.

That being said, or "bitched," if you will, it was a good performance for all of us and for myself, despite that irksome moment. I suppose I should also admit that I dropped a line, too, but at least it was one that was close to a throw-away, and that the absence of it did not hurt the moment, nor the scene.

The Sunday show was solid, too, and none of that annoying going up by me. The closest I can remember is that I switched two words around, saying, "Tess always got the sense he was a little...." rather than "Tess got the sense he was always a little...." Again, though I'd rather not make such an error, it's the kind I am far more accepting of. But the Sunday show, all in all, felt really very good to all of us.

The whole weekend was a good weekend, in fact, though it would have been nice to have had bigger audiences. The audiences we did have liked the show, some quite a bit. One facebook comment I'll share, leaving the writer's name off, said, in part:

Just saw this spectacular show at the Dayton Theatre Guild. SO much in this short play to think about and to unpack. Everyone needs to go see it SO I CAN TALK ABOUT IT!!!!

The funniest complement (as in humorous, and a little cute) came after the show yesterday. I left through the stage door and there was a young lady standing there, under the little roofed area, out of the rain, and she said how much she enjoyed my performance. Then she said she also liked me in All My Sons. She was, of course, confusing me with David Williamson, another bald, middle-aged white-guy actor. Hey, not at all a bad talent to be mistaken for!

In conclusion: despite lower than desired attendance (SM Sarah Caplan reports 178 in total attendance), our opening weekend was otherwise artistically successful.


ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON
To the best of my knowledge, at this moment, the class session is still on for this evening.

Full disclosure, I have not yet picked my monologue. I will by class this evening. Something from Joe Keller in All My Sons is, frankly, the only contender, so now it's just a question of which chunk from which act. There are two that are at the top of the heap.


THE CHRISTIANS logo.
DTG Promocast Production logo
Copyright © Symbol icon
Just this morning I sent an email to Lucas Hnath's agent seeking clearance to use dialogue in the promocast. Over the course of the last several weeks I've tried several avenues to contact Mr. Hnath, himself, but those have not been fruitful endeavors. I always like getting hold of the playwright his or herself, because my experience is that the playwright is more apt to grant clearance; the agents are often reluctant or downright opposed.



Tue, Oct 10, 2017

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ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

The Human Race Theatre Company acting class with Jennifer Joplin did have the regularly scheduled session last night. In terms of the monologue for class, I did, as expected go with a Joe Keller monologue, one from Act III of All My Sons. Though at the last minute something from another play became a contender: a rather well-known monologue by a character I will be auditioning for later this season. I ended up going with the Keller monologue, anyway, because there are more beat changes.

We all did the cold reads of our monologues, then got feedback from Jennifer and classmates, as well as some direction from Jennifer, which included blocking.

And now, that I'm off-book for Marjorie Prime, I have to get off-book for this monologue. At least it's not the whole play. But, who knows, I may have to start getting off-book for a whole play sometime soon.



Thu, Oct 12, 2017

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MARJORIE PRIME logo.
MARJORIE PRIME: THE MOVIE

As soon as possible after our production is wrapped, I want to check the movie version out. It stars Geena Davis (Tess), John Hamm (Walter), Tim Robbins (Jon), and Lois Smith (Marjorie). But it's in limited release and it may prove to be difficult to locate a theatre screening it. I'm hoping it shows up at one of The Neon, in Dayton, or The Little Art Theatre, in Yellow Springs; they both show the small-release films. Thus far it doesn't seem to be on either theatre's agenda in the near future.

Meanwhile, we have a brush-up rehearsal tonight -- no tech or costumes, but we will run the blocking.


AND IT'S ON TO THE NEXT AUDITION ICON
Tuesday evening I auditioned for the role of Pastor Paul in our third DTG show for the season, The Christians. I was not cast, and I didn't expect that I would be. My reading was okay, but I just got the vibe that I wasn't what was being looked for. There might also have been some problem with my Monday evening availability for the next several weeks due to the HRTC acting class, which would have pushed my arrival at rehearsal to past 7:30 -- and since I put on my application that I would only accept Paul, a role that dominates the script, that could very easily have contributed heavily to not getting cast. But, you know what, I was fully prepared to not be cast and I have my eyes on some other plays this season, so it's all good.


THE CHRISTIANS logo.
Since we're on the subject of The Christians and its auditions, here's the list of those whom were cast:

This entry has been updated to reflect a cast change.

CHARACTER
           ACTOR
Paul
           Richard Young
Elizabeth
           Jill Evans
Joshua
           Thor Sage
Jay
           Steve Strawser
Jennifer
           Jackie Anderson


Fri, Oct 13, 2017

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THE SOPHOMORE WEEKEND IS UPON US:
MARJORIE PRIME logo.
On Stage icon

We had our brush-up rehearsal last night. As planned we were on our feet as opposed to just doing a line run rehearsal. One of these days I will have a one-hundred-percent perfect verbatim off-book line delivery for a whole script! That day has not arrived as of yet.

Second weekend starts this evening. Live close by? See you there?


HUMAN RACE THEATRE COMPANY ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

I have my flash cards done up to start memorizing my All My Sons Joe Keller monologue. Our instructor, Jennifer Joplin, has designated this coming Monday's session as that which covers script analysis, and I think she's going to cover its close sibling, line study.



Mon, Oct 16, 2017

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OUR SECOND WEEKEND IS WRAPPED-- SIX DOWN; THREE TO GO:
MARJORIE PRIME logo.
On Stage icon

This weekend felt as good for all of us as the first weekend. Unfortunately we're still getting some rather skimpy audience sizes, which is a shame because perhaps I'm bias but I think this show deserves bigger audiences. We did have two two-thirds full houses over this past weekend, so the situation is not dire, but I know I speak for the whole MP company when I say we'd love to have still bigger houses, and a couple performances have had most disappointing audience sizes.

I am perplexed that we are getting these positive responses after the performances from audiences members, yet I'm not seeing a lot of endorsement posts on facebook, or have heard of such on other social media formats. Especially from particular individuals who were most complimentary -- in manners that did not seem disingenuous -- after the show and whom I know post about shows on fb.

There are a few good responses on facebook however, such as the following:

Go see 'Marjorie Prime' at the Dayton Theatre Guild next weekend. It is such a thought-provoking story. The performances are beautifully restrained and will leave you both loving and feeling a little creeped out by (in the best way) the most unusual family. Bravo Jared Mola, KL Storer, Wendi Michael, Barbara Jorgenson, Ryan Shannon, and Sarah Caplan.

As for my obsession with the perfectly-off-book target, I remember that I had some sort of line flub Friday, but I can't remember exactly what it was, but I do remember that it was minor. I do know I went up on a line for a split second that night, but that only resulted in about a half beat pause before I delivered the line. The exact same thing happened with a different line on Saturday, then again with the same line Sunday. I also dropped a portion of a line Saturday night. None of these were things that the audience would know, however.

The ol' ego has been sufficiently petted with positive strokes about my work as Jon. The best of the weekend coming from a person whose opinion I respect greatly, who said, "You just keep getting more and more monumental." I think "monumental" was the word used, if not, then something similar. Anyway, it's hard not to like that! I, of course, have my introspective complaints, but I'm going to attempt to ignore them for the moment.


HUMAN RACE THEATRE COMPANY ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

So, I did get my Joe Keller, All My Sons monologue down on the 3x5 index cards (my flash cards) a few days back, but I have to admit I have not done much to start the memorization process. I started last night when I went to bed but fell asleep not to long after I'd started.

I discovered today after I arrived at the rent-payer that I had left the flash cards by my bed. But I have my rehearsal bag with me, with both the side that has the monologue and a good supply of blank index cards, so I just re-created the flash cards, and did some work during part of my lunch break.

On a side note, a couple of my class mates came to see Marjorie Prime over the weekend.



Wed, Oct 18, 2017

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HUMAN RACE THEATRE COMPANY ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

Monday night, Jennifer Joplin took us through script analysis, as was planned. There were specific focuses on beat changes and on acting verbs. The point is to identify where changes in mental, emotional, or attitudinal state occur and to attach descriptive verbs to those states, like: manipulative, or fury, or intimidated, ad infinitum. We are charges to put little slanted slashes in the script at the points within a line that these beat changes occur, then to write the chosen verbs close by. This isn't a new tool to me but I must admit I don't do it; I make these decisions intuitively and make mental notes. It certainly can't hurt to give the tactility of the slashes and the writing of the verbs a try. It may not make a difference, but who knows, I might find myself getting grounded in the moments sooner than I am used to.

We most definitely are charged to be off-book by next Monday's class. That means a lot of tonight is about that. Though I do also have a social engagement that I don't want to miss. It looks like it's time management time. I do have some gym time scheduled on the elliptical machine, which is a time and place for both memorizing lines and for running lines. I've been running my Marjorie Prime lines on the machine here the past few weeks. I'll sacrifice today for the Keller monologue. I'll be running the MP other times today, anyway.


"YES":
THE CHRISTIANS logo.
DTG Promocast Production logo
Copyright © Symbol icon

I have heard back from Playwright Lucas Hnath's agent, who has granted clearance to use dialogue from the script in the promocast DV movie for The Christians.

The conditions are, as usual, that we only use so much material -- I always use less than is allowed -- and that the promocast goes off-line when the show closes; the latter is a stipulation that I occasionally get. I like leaving the DV movies up, but, sometimes that can't happen, and at least we have the clearance to use dialogue, which is always better, though I can make a promcast work without it, and I think sometimes quite well, as in the Marjorie Prime promocast.


In the audience icon
Honestly, this is not an I was in the audience, it's an I will be. Last night I went to the Meet & Greet for the next HRTC production, The House, by Brian Parks. It's directed by Margarett Perry, who seems to direct at least once a season at The Race, and in fact, directed me a few years back, there, in the dramatic reading of Michael Slade's Gingerbread Children.

The show is a comedy that features (in alphabetical order) Vince Gatton, Caitlin Larson, Scott Stoney, and Alex Sunderhaus. Vince I met last summer at the new play festival, FutureFest, in which the play he wrote, Wake, was one of the six finalists. I have worked with Caitlin twice, once in the aforementioned Gingerbread Children and also in the HRTC production of Fiddler on the Roof. Scott, I have worked with twice, once as a fellow actor in, again, Gingerbread Children and then once when he directed me in Caroline, or Change -- my first professional theatre credit -- also at HRTC. Alex, I have not shared a production with, but I have seen her several times on The Loft stage. She and I also share Wright State University as our alma mater.

Margarett and the cast talked some about the play, careful not to share spoilers, then the cast did a short staged reading of several pages of the show, as a preview and teaser. It looks to be a funny show. I plan to catch it on Pay What You Can Night, and who knows, I might go back later in the run.



Thu, Oct 19, 2017

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MARJORIE PRIME logo.
In REHEARSAL icon
We have brush-up rehearsal tonight.

It's probably just going to be a line run, rather than on our feet.


HUMAN RACE THEATRE COMPANY ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

In the entry about this class in the post yesterday I failed to mention another component Jennifer Joplin went over in the script analysis lesson on Monday: looking for words to hit, as in to emphasize, even if only slightly, in each line. Usually it has to do with the importance of the words in context with the moment in the play; sometimes, it's more of an aesthetic consideration, especially if the line has alliteration or assonance, or both. Hitting key words, even if subtly clarifies intent for the audience. playing with the alliteration or assonance has a further affect on the audiences's reception. It can be one of the reasons, and a strong reason an audience members says, "I just love the language in this play!"



Fri, Oct 20, 2017

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THE FINAL WEEKEND IS HERE:
MARJORIE PRIME logo.
On Stage icon

Here we are. Three performances left. Always feels weird when the run gets to its last stretch.

We had our brush-up rehearsal last night; it was only a line through.

I, of course, have an appointment with an elliptical machine this afternoon where I will run my lines -- the first of several times before tonight's curtain rises.


In Concert icon
Puddles Pity Party at Bogarts in Cincinnati, Dec 6, 2017. 8:00 pm - doors open at 7:00

Yes, it's true. I have again purchased a ticket to see "the sad clown with the golden voice."

Puddles Pity Party is coming back to Cincinnati, this time to Bogart's.

The show is Wednesday, December 6.

It's my hope that I will have to be excused from an evening of rehearsal that night, but we'll see.

The show I hope to be in would be just barely starting rehearsals so it might not be a big problem.

On the other hand, the role is pretty paramount to the script, so chances are the rehearsal would not happen if I can't be there.

But, I just might be getting a little bit ahead of myself here.

Well, Puddles will be fun, I know. As he was the first time.



Sun, Oct 22, 2017

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Closing Today

MARJORIE PRIME by Jordon Harrison, at The Dayton Theatre Guild.

Directed by Jared Mola
Produced by Debra Kent

In the not-too-distant future and the age of artificial intelligence, eighty-five-year-old Marjorie is trying to cope with the loss of her deceased husband through the use of a prime, an exact replica of him programmed to interact with her in human-like ways. What would we remember, and what would we forget, if given the chance? Would we rewrite the past? This play explores loss and memory, the mysteries of human identity and the limits (if any) of what technology can replace. Marjorie Prime was a finalist for the 2015 Pulitzer Prize for drama.

The Cast of MARJORIE PRIME

(in order of appearance)

CHARACTER
           ACTOR
Marjorie
           Barbara Jorgensen
Walter
           Ryan Shannon
Tess
           Wendi Michael
Jon
           K.L.Storer

The Promocast for Marjorie Prime


Mon, Oct 30, 2017

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xxxxxxxxxx

IT'S WRAPPED:
MARJORIE PRIME logo.
POST-MORTEM

It was one week ago yesterday that Marjorie Prime at DTG went dark for good. I truly wish we'd had a few more weeks, myself. Those of you who missed it: You Missed It! We had a great run with everyone kicking ass in their particular roles, whether those roles were on stage or on the production team.

I certainly am happy with my work as Jon; I put it up there in personal satisfaction with my work as Ray in Blackbird, or Carl in Opus, and a few others I am also quite pleased with. it doesn't seem I could be accused of having ever been "caught acting" on the Marjorie Prime stage, which to some may appear counter-intuitive but is exactly how an actor's performance should be. Less acting, more being, is my motto and goal as an actor. I don't want the audience to see an actor on stage playing a role; I want them to see that character as a person living those moments in his life. Apparently I succeeded; apparently they saw Jon and not K.L. performing Jon; they witnessed Jon's behavior, and looked into his heart and soul, rather than did they consciously watch K.L.'s acting moves.

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So, Kathy Mola was costume designer for the show. Everyone liked very much the wardrobe she came up with for Jon (me), so much so that they kept telling me I should buy the whole thing from the theatre. So I did.
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Meanwhile, I was in the company of stellar performances by the rest of the ensemble of which I was privileged to be a part. Barbara Jorgensen, who is a staple of Dayton area non-professional theatre, and not just at The Guild, was true to form as Marjorie, delivering a rock-solid, compelling performance, which is exactly the norm for her. Let me just say that technically, Barb may not be a professional actor, but her work on stage is as high a calibre as any actor who earns a living at the craft. I believe I stated this back when I announced that I was cast in the show, but this is the first time Barb and I have shared the boards in more than thirteen years. The last (and first) time we were on stage together was when she played Mammy McDougal, the mother of my Johnny Pateen, in Martin McDonagh's The Cripple of Insihmaan, in March of 2004 -- my first foray back into acting in more than twenty-six years.

This was the first time I have been on stage with Wendi Michael, to whose Tess my Jon was husband. I've been producer and/or sound designer for quite a few shows she's been in, but until now we've not been on stage together. I've always liked her work and I was most impressed with her as Tess. She certainly explored the depths of Tess' complexities and rendered an excellent performance. I believe we worked quite well as a couple and she was most easy to do so with; the marriage we portrayed was authentic to the audience, and that is due in great part to Wendi's work. I look forward to the next time we work together, whenever that shall be. She gives professional quality performances, as well, and this was absolutely no exception to that.

Ryan Shannon, who's relatively new to stage acting, gave us a really nice Walter Prime, the holographic image of Marjorie's dead husband (Tess' dead father). This is his fourth appearance on the Guild stage, and I may be wrong about this, but perhaps only his fourth appearance on stage, period. Either way, at DTG it's been a steady graduation of roles from a one-scene bit part where his only line was a stammering, "Huh, umm," or some such, to a supporting role, then a bigger supporting role, then to one of the ensemble principals in this four-hander. He rounded out this ensemble quite nicely and certainly he, as well, approached his work with a professional demeanor. We should all keep an eye on this guy.

It was also a great pleasure to participate in Jared Mola's debute as a director. He was a very easy-going director but had so much entusiasm and wonderful insights. Those in the know in local Dayton theatre already know the guy is an excellent actor but he has also shown himself so as a director. Now that I think about it, I should hate him....ah well, at least as an actor he's not in my age range or type, so what do I care big grin icon.

Sarah Caplan was our great stage manager. My first thought, and hers, too, was that this was the first time we've worked a show together where I was on stage, but, she was also crew for the FutureFest production of Playing God, my second stage appearance for that festival, which was in July of 2007. I can't remember if she was SM or not for that. She was certainly SM for this one, and a most reliable and amazing one; we all knew we could count on her as a stage manager extraordinaire.

Then there was the design team, all who did their parts well to bring the universe of the play to life in vibrant and imaginative manners. As is always the case, Chris Harmon's set was fantastic (see in the pics below). Alan Shotwell lit the stage in some provocative ways that complimented the script and our performances on stage. J. Gary Thompson, likewise did much to help tell the story with his choice of scene transition music and some in-scene SFX that, in at least one case, enhanced the odd mood that was intended at that juncture. Kathy Mola, who usually directs at DTG, costumed us all skillfully, in fact, as stated above in the sidebar to the right, I bought my Jon wardrobe from the theatre -- everything but the shoes, which looked good, but I never could get comfortable in, so they were only on while I was on stage. Kelly Wright did good work as properties designer, providing us with a lot of nice stuff, that despite that she was in last stretch coming up to her wedding, which was the day before our MP Tech Sunday (she was, until then, Kelly Engle).

And let me not forget to give a shout out to our booth techs, Scott Madden (light tech), and Kathleen Durig (sound tech). Thanks to them, too!

And I'd like to thank the Academy, as well as my agent, George Spelvin, at William Morose.....No, wait! No, don't play me off....my MOTHER'S watching!

To repeat what I wrote above, our run was great and everyone kicked ass whether an actor or a production team member. It was another example of the standard work at The Guild that epitomizes why newcomers to the area have sometimes been known to ask things like: "Wait, that's a community theatre, not an Equity house?" Now, here are some photography stills of the show, mostly without comment except for one exception:

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Director, Jared Mola
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• Photos with red borders are by Craig Roberts
• The photo at the top of the entry, the cast portait with the show logo and cast names, is by Rick Flynn
• All other photos are by K.L.Storer



HUMAN RACE THEATRE COMPANY ACTING CLASS WITH JENNIFER JOPLIN:
PROFESSIONAL DEVELOPMENT ICON

Last Monday night in class we presented our monologues off-book, and we each did with varying degrees of success. I was on book for most of the other students. When it came to my turn, I was not one-hundred-percent perfect, and did have to call for lines a few times, but, hey, it was the first time off-book. We each did the monologue once, then Jennifer would give us some direction and we do the monologue or, or at least part of it, again. I held my side in my hand the second time, to minimize the rhythm interruptions when I went up.

Jennifer gave some me very specific points on where I could change the emotional and the attitude levels of Joe Keller in my All My Sons monologue. As she gave similar guidance to the the other students. All in all, I felt pretty damn good about the work I did in class, and thought my classmates in general did good work, too, a couple of them especially.

Tonight we revisit the monologues as well as do some work on cold reads, on which I can always use the practice.


NEXT GIG, AND THIS ONE HAS A PAYCHECK:
PROFESSIONAL GIG ICON
U.D. Law - University of Dayton School of Law icon

I've picked up a U.D. Law gig for Saturday, Nov 11, via Fran Pesch, who is the acting coach for those gigs. It's a new scenario so I will be committing new material to memory. I have no other scripts between now and then to memorize, so I'm good -- the Keller monologue for the class is already under control.


NEXT ATTEMPTED STAGE WORK:
AUDITION ICON
THE ACTOR PREPARES ICON

I'm gearing up for the next audition, not coming up right away. but also not too far off. I haven't yet finished reading the script but I have started to research the regional dialect associated with the character I'm going after. It happens to be a particular accent that is not in the cannon of David Alan Stern's recorded resources, and I have thus far been only able to find a couple short YouTube videos that deal with it. Though those videos will prove helpful, they are not enough. I've been in contact with Dialect Specialist D'Arcy Smith about possible resources and he's given me a URL, which I haven't had a chance to check out, yet. I have some time to get this together, both a handle on the dialect and some multiple good reads of the script, all before auditions, so I'm good.

There is still at least that one other play coming up this season that I have my eyes set on, the one I bought the actor's edition script for a few weeks back.


THE TOOTH MAN HAS ARRIVETHED:
THE TOOTH MAN COMETH, a film by Mitch Centers icon
THE TOOTH MAN COMETH, a film by Mitch Centers

There was a facebook post earlier last week from the The Tooth Man Cometh fb page that read:

"Something magical is around the corner! Keep tuned later this week for more news cometh."

My suspicion was that this fine little short, starring the talented young Ella Gallagan and me, was about to be available for public consumption at Vimeo. I was correct. It is now up and available to stream.

This is, of course, my last screen appearance, which was shot the summer of 2015, just months before my heart attack and open-heart surgery. I'm starting to hanker for another on-camera acting gig, by-the-way.

Click here to watch it on Vimeo.


AN EARLIER EQUITY CARD?:
THE BUSINESS OF ACTING ICON

Recently, we EMCs (Equity Membership Candidates) got word from Actors' Equity Association (AEA) informing that they have modified the points system in an important manner. Now, once a EMC has earned 25 points (as in one point per each week the candidate has worked on an Equity eligible production -- rehearsal and performance), that candidate can opt to join the union.

The previous rules still apply once the EMC reaches 50 points: he or she has five years to join; or if she or he is cast in an Equity play (or otherwise works one as, say a PA) during that five years they must sign an Equity contract and join. If the five years passes and the EMC hasn't joined, or doesn't join when working the Equity show during that time, then all points are lost.

The important thing is that the points have not been lowered to 25 for the start of the stipulations in the paragraph above, but the option is now open at 25 points earned for the EMC to join. Right now I have 15 points, so it's not yet an issue. But it does mean that with a likely minimum of two more Equity shows, I could join Equity if I so desire.

Right now, an Equity card would not be a wise choice. Had I card at the moment, I would not have been able to be Jon in Marjorie Prime, and that is an experience I would not have wanted to miss. The two auditions I mention above are non-professional gigs, and were I in the union, they'd be off limits.

If I were Equity right now, while I still have a full-time job -- my rent-payer as I like to refer to it -- the only Equity theatre it would be practical to audition for, is, in fact the only one I currently do, as an EMC: the Human Race Theatre Company, in Dayton. It's the only one close enough that I can reasonably commute back and forth to rehearsals and performances while maintaining the said full-time job. Cincinnati or Columbus would be two hours of driving each day; Indianapolis would be four hours. Of course with an Indy gig I'd be far enough away that the theatre might house me locally -- but that would mean six weeks of vacation leave, which A) I'm just never going to have built up, and B) I'm not going to get authorized, not six weeks in a row.

The problem with only one professional theatre being a viable place to audition and perform is that my chances of being cast at all are limited -- any actor's would be, but mine especially would be, and in fact, are now in terms of being cast at the Race, because I am in an age range and parameter of type for men that is not a small pool in the professional acting world. Right now I have the additional factor, at HRTC, that I am a local non-union actor, which often is a hindrance just by itself, at least for principle roles.

If I have my Equity card, that last point might go away, to some extent, though there's no question, my slimmer professional résumé would rarely be ignored in conjunction with considering me along side those more experienced Equity actors in my age and type group, most especially for major principal roles. There's also the fact that HRTC auditions Equity actors from far more than just a local pool. They audition actors from New York and Chicago, and professional actors from a several hundred-mile radius of Dayton make the trek for the Generals at HRTC in the spring. So it's not at all a small pool of candidates. Bottom line is, if I wasn't allowed to appear on non-union stages (community theatre or paying, non-union theatre companies) then my chances of being on stage at all would be greatly reduced as long as my only option was one local Equity house, which produces only five productions a season.

I am however, skirting closer to the point where I am eligible to retire from the rent-payer. Retirement could theoretically open me up to more options as far as Equity houses are concerned. Further, to the best of my knowledge, all regional theatre, including most theatres in Chicago, are Equity/non-Equity houses. Even steppenwolf is Equity/non-Equity -- though I would not hold my breath for the role of Father Flynn in Doubt, a Parable on that particular stage, even with the card.

So that last point, and a few similar points earlier, draw us to a major consideration for me, that of the roles I can be likely or unlikely to land. Let's look at a random sample some of my favorite roles I've had since I started this blog, reaching back to 2004:

Included here are only community theatre productions. A while back, one spring when I did my audition for the Generals at HRTC, Marsha Hanna (may she rest in peace) was the auditor. She had, at previous Generals, asked me if there were any roles I was intersted in from the respective seasons. That year, Doubt, which I mentioned above, was on the roster. She didn't ask me that year, but if she had I would have answered Father Flynn. Now, let me level here, I was not delusional: I understood that there was virtually no chance that I'd be considered for such a lead in such an important play on that professional stage. I still would have told her had she asked -- I certainly had nothing to lose.

If you look at the roles on the above list, likewise, there'd be little chance I would get a callback for most, if any, of those roles on a professional stage. I most certainly proved I was capable of stepping into all those skins, and at a professional class. At this point, perhaps my chances have increased somewhat of landing one of those on an Equity stage, but I don't believe significantly. With the card the odds bump a little more in my favor. At some point, if I managed to land a significant role like one of those above in an Equity production and deliver the perfomance level I am good for, the door to such subsequent roles would probably open a bit more. The best scenario would be if I could land one while still an EMC and before the 50-point mark is met, that way I wouldn't be obligated to join the union and I could gage the climate for me after that show closed. I'm skeptical of that scenario morphing into reality.

The dilemma is between having the status of being an AEA member and receiving some actual paychecks but with reduced chances at some of the juicy roles I've had, or actually feeding my actor's soul and climbing into the lives of such interesting characters, of having the better chance to perform these wonderful roles.

Of course, I have some bit of an uncertainty about how much my skepticism about my chances is too skeptical. I'm not enthused about having an unrealistic optimism that ignores the practical realities of this, on the other hand, I don't want to be so pessimistic that I'm blind to real opportunities that are in my reach. I have to say that most of the time that "professional actor" seems a carrot inches out of my reach that teasingly moves forward as I do.

I do know that if it's a choice between being able to actually land the great roles or have a card and likely be consigned to lesser roles, I have to go with the first option, especially since there are some local non-pro theatres where the productions are not simply the quintessential "community theatre productions," most especially at my home theatre, DTG, where, as I wrote in the Marjorie Prime entry above, "newcomers to the area have sometimes been known to ask things like: 'Wait, that's a community theatre, not an Equity house?'"

I suppose I can also say that I am closer to landing such good roles on an Equity stage than I was in January of 2004, when I did my first audition as an adult. Stay tuned as I figure this shit out.



Fri, Nov 3, 2017

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HUMAN RACE THEATRE COMPANY ACTING CLASS WITH JENNIFER JOPLIN:
PROFESSIONAL DEVELOPMENT ICON

It's hard to believe that there's only one session of this class left. Next Monday is the final where we present the final performances of our monologues.

As scheduled, Jennifer had us start the session this past Monday with cold reads -- not stone-cold, we did get some chance to look the sides over before we presented the pages. She paired each of us up with another student and gave us two-hander sides. The contexts of the whole plays were unknown to us, each team had to extrapolate a context and decide on the energies, motivations, and personalities of our characters, sometimes logically from the text we had in hand, sometimes filling in the blanks. It goes back to the actor's adage: Make Bold Choices.

So, my partner and I had to do quite a bit of that extrapolating, though some parameters were reasonably obvious from the context we could glean. We were playing a couple, probably married, and it seemed had been together for a while. We were waiting for a friend form high school who would liven thins up. Our relationship seemed tp have fallen into a rut and it further seemed that neither of us were ever known as "wild ones." It was an interesting exercise to garner a breadth of levels in the several pages we had to act out. I think we were reasonably successful but certainly could have pushed the envelope farther.

The second part of the session came back to our monologues. As for my Joe Keller, All My Sons monologue, I think I executed it well, the off-book quotient was good, though I did have a classmate on book, and I did go up once and have to call for line. But the dynamics of the delivery were strong and I felt successful, save for that one line problem.


PROFESSIONAL GIG ICON
U.D. Law - University of Dayton School of Law icon
Another session has been added to the upcoming U.D. Law gig. As well as Saturday, Nov 11, I'll be doing a session Thursday, Nov 9. I received the case material last night and haven't yet had a chance to look at it. I'll be breaking the index cards out, likely sometime later today.


1) "CAN NIGHT" AT HRTC -- THE HOUSE; 2) OTHER SHOWS:
In the audience - Not in the audience animated gif icon

YaY!
1) -- Last night I attended the final dress rehearsal of The House, by Brian Parks, at Human Race Theatre Company, the "Can Night" performance. The show is a hoot. Director Margarett Perry has sculpted hilarity from a whacky, fun script, aided and abetted by a cast with strong comedy sense and timing, that cast being: Vince Gatton Caitlin Larson Scott Stoney and Alex Sunderhaus.

Click here for a short video of Vince and Alex talking about the show.


Boo Face in blue and "BOO!"
2) -- Once again I find myself in that situation where there are several productions I want to support with attendance, but I don't have the cash-on-hand to get to them all. I guess we'll see in which audiences I end up.



Tue, Nov 7, 2017

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I VOTED TODAY


VETERANS DAY 2017

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Here's to our veterans -- VETERANS DAY 2017'


HUMAN RACE THEATRE COMPANY ACTING CLASS WITH JENNIFER JOPLIN:
PROFESSIONAL DEVELOPMENT ICON


COMING SOON!

Ran out of time to sit down and work out what I want to say. Not that it's going to be deep thoughts or whatever.


PROFESSIONAL GIG ICON
U.D. Law - University of Dayton School of Law icon
I did the first leg of the U.D. Law gig on Thursday evening. This morning it finishes off. Thursday went well enough. That and tomorrow are law student tryouts for an upcoming mock trial. In these tryouts the students only have five minutes for examination or cross examination. It's judged by a panel, made mostly of actual judges, who I think actually looking for the students style, technique, and poise, because five minutes is not a lot of time for the student to accomplish much in laying a foundation, etc.


THE CHRISTIANS logo.
DTG Promocast Production logo
Wednesday night I watched most of a full run rehearsal of the show to help me determine what moments I want acted for the promocast. I have as of yet to make my final choices, but probably will today. One actor couldn't be there Wednesday, so a portion was skipped. I'll have to chose that actor's moment from the script alone. I also left before the run was done since I never use material from later in the play for the DV movie.


YaY!
DTG Promocast Production logo
Copyright © Symbol icon
STELLA AND LOU logo.

And while we're on the subject of Guild promocasts, this week I was in contact with Stella and Lou playwright, Bruce Graham seeking permission to use dialogue from the play in the promocast. He had said yes for The Outgoing Tide last season, so it seemed likely he'd say yes again, which he did.

So YaY!



Wed, Nov 15, 2017

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HUMAN RACE THEATRE COMPANY ACTING CLASS WITH JENNIFER JOPLIN:
PROFESSIONAL DEVELOPMENT ICON
POST-MORTEM

So my latest actor's training ended a week ago this past Monday. Granted, it wasn't the full-on, deeper, advanced, professional level I would love to get in a class, it was a mixed-level class with some experienced through to some quite inexperienced actors in the room, a couple absolutely new to the craft. Jennifer did, to some extent, tailer her instruction to each student to their level, which kept the class beneficial to me, as well as to the small handfull of other actors with some experience and work under their belts.

She certainly gave me some good instruction and direction for my Joe Keller, All My Sons monologue. We did divert the interpretation somewhat from what would likely be done in a production of the Miller play, but not wholly so. As they were elements of the class, I purposefully and consciously analysed for such things as what Laban energies, and what acting verbs would apply to each beat of the monologue. I write "purposefully and consciously" because I approached the study of the text and the sculpting of my performance with a deliberate mental focus on these concepts. In all honesty I truly approach my work as a character with these sorts of elements instinctively active in my interpretation, but the specific, mindful focus is not a bad thing -- the key word being "focus." I'm sure that the purposeful and conscious use of the concepts helped make them sharper and more focused in the final product.

Of course, all that needs to be incorporated in as does the blocking so that by the time one gets to performance there's no thought involved, rather it's instinctual execution, or, more to the point: habitual action and intent that seems spontaneous. It's also probably safe to say that though there are good odds that I'll be more conscious of these elements during the study period when I'm climbing into the identity and persona of the characters I'm privileged to portray from now on, there are equal odds there will still be a large factor of me incorporating many of those elements on an instinctual level, as before.

What is here above, is the most valuable of what I took from the class sessions, that plus the always-important aspect of some focused work on improving my acting craft. It was beneficial to get the constructive feedback of a professional actor whom I admire, as well.

There's a rumor of another attempt at an advanced class this coming spring. I'm all for it!


PROFESSIONAL GIG ICON
U.D. Law - University of Dayton School of Law icon
POST-MORTEM
The U.D. Law gig wrapped last Saturday morning with the bulk of the sessions. Again, these were tryouts for mock trial. The students each had limit time to make their opening remarks, the examinations and cross-examinations of witnesses, and their closing remarks -- five minutes for each, in fact.

Most of us actors who worked this were assigned two characters to play, the plaintif and the defendant. Last Thursday I played both, but Saturday morning I only played the defendant. I always walk into these gigs, whether it mock trail or some sort of clinical interview-and-counseling class, fearful that I don't have the material down as pat as I'd like. That always turns out to be unfounded, and often much of the material is never covered in the law students' inquiries anyway. When they are limited to five minutes so ask questions, as they were for this, a mountain of information is never asked about. In these tryouts they each barely had a chance to lay their foundations before their time was up.

These are students so on occasion they make some serious tactical errors. I'm, of course, not a lawyer and don't have even paralegal training, but sometimes I recognize when the student is making a major blunder. There was one big example of that Saturday morning.

In a nutshell, and leaving many details not directly relevant to this example, the case was about a teenager, driving a jeep early in the morning in a rich neighborhood. The passenger was smashing mail boxes. Two residents, both doctors, were laying in wait. Both had guns, one gun was unloaded, the other was not. The character I played is an experienced hunter who owns several dozen gun, mostly rifles and shot guns. He claims that his neighbor, who has never shot a gun, wants a gun for their vigilance in order to shoot out the tires on the vandals' car. My character says that he thought it was a bad idea but acquiesced after the neighbor's insistance. The claim is that he grabbed two new Beretta pistols, of the same model, that he'd just purchased, and unloaded one to give to his partner; the loaded one was for him, in the unlikely case that the neighbor managed to attract the vandals attention and some sort of confrontation ensued. My character's testimony is that he inadvertently switched the guns so the neighbor had the loaded gun. Then, as the vandals drove by, the neighbor fired shots at the jeep. The other pertinent information is that my character is a neurosurgeon and had performed brain surgery for over four hours, ending a little after midnight that same morning.

The plaintif law student, on cross, took me down a path to establish that I was tired and had impaired judgement. I was asked how long I had been in surgery the night before; I was asked how long I had been awake before the incident -- I said I had been up since about 6:00 the morning before, after getting about six hours sleep. Then the student said:

Is it safe to say that your judgement was impaired to the point that you might mistakenly confuse the loaded and the unloaded gun?

To which I responded:

Not only is it safe to say that, that IS what happened.
And I said it with an aire of "well YEAH!" in my voice and my physicality.

I remember that as the student began pursuing the line of questioning I thought, Oh, really? This is exactly the point my counsel wants to make. Are you really going down this path? When I said, "Not only is it safe to say that, that is what happened," I could see it the dawning in the student's eyes that this was an erroneous direction to have gone.

There were, as always, plenty of opportunities to give a myriad of attitudes and emotional responses, both as the nervous, intimated teenage victim and as the self-assured, occasionally arrogant neurosurgeon. The former, of course, I only got to play with on Thursday evening.

I am hoping to have a lot more freedom in the relatively close future to do a lot more of these U.D. Law gigs.


THE CHRISTIANS logo.
DTG Promocast Production logo
Sunday, at Tech Sunday, I shot the principal photography, all the photography, actually, for the promocast. I edited it to final cut last night.

But, not before we had some of the dreaded
PRODUCTION GREMLIN ICON
GREMLIN

Yep, I ran into some technical difficulties, not at the theatre, but at home when I began the process of editing the footage. It started, I do believe, with an "upgrade" to the latest Apple Mac OS High Sierra (OS 10.13.1). Turns out it's a tad buggy. A few older applications do lose total functionality because they are rendered obsolete by the new OS; that's not a bug thing though it can be annoying, even if one knows to eventually expect it. But there are other applications that have bug problems, functionality issues, that need attention. One of those is Final Cut Pro X (FCPX). It would not import my AVCHD files from my Canon Vixia HF 40 cameras.

I suppose I could have done a workaround of just editing from the original source, i.e. from the camera, which is possible to do. But the problem is I shoot three-camera, with each camera catching the exact same action from each of three different angles. When everything is imported onto the drive where I store movie files, I can easily pull from any of the three angles to show various parts of each moment from different angles than the other parts of that moment. I can only have one camer plugged in at a time, so the other two angles for any particular action are not readily accessible. Though I could jump back and forth between cameras, attaching and detaching each camera as needed, that would be enormously time-consuming and gothically frustrating.

Other applications, by the way, were also not fully functional. So, boys and girls, this is why you do a complete system back-up before you upgrade your operating system. I was able to revert back to just before the upgrade via my Time Machine back-up. I lost a small handful of files, but it was nothing that I couldn't recreate, so it was barley a bother at all.

Dealing with that did delay me, but I did get everything set by bedtime Monday evening. I had all the properly imported and transcoded movie files labelled as I needed them, I had processed all the graphics needed for the DV movie, I had assembled the closing credits, and I had the underscore music ready and in the FCPX project. I also chose the order to use each of the eight moments from the play that I had shot. Last night I edited together the meat of the movie, those eight moments.

*DEC 3 ADDENDUM: THE CLEARANCE AGREEMENT TO USE DIALOGUE IN THE PROMOCAST STIPILATED THAT THE PROMOCAST BE TAKEN OFF LINE WHEN THE SHOW CLOSED, THUS THE LINK THAT WAS HERE IS NOW REMOVED.


In the audience icon
Last Saturday night I saw a very pleasant production of Ed Graczyk's' Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean at the Dayton Playhouse. Directed by Michael Boyd, it featured (as presented in the playbill): Cheryl Mellen, Rachel Oprea, Samantha Stoner, Jill Proudfoot, Diana Round, Cassandra Engber, Cassidy Manley, Melissa Fowler, and Nathan Strawser. The performance provided a nice evening of theatre. Unfortunately, the show closed Sunday, so if you're close by, missed it, and might think about catching it, your chances to do so are gone.


I am likely to catch It's a Wonderful Life, the Radio Play at Undercroft Players tomorrow night. That being the Philip Grecian adaptation from the screenplay. I've seen this at least once before; HRTC did a few years back at the Victoria Theatre; and, I think I may have seen it a few years back mounted by this self-same Undercroft Players. It was a radio play, I just don't remember if it was this.       AGE, HEY?



Fri, Nov 17, 2017

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Opening Today

THE CHRISTIANS by Lucas Hnath, at The Dayton Theatre Guild.


ThanksGiving Day 2017

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Happy ThanksGiving


Fri, Nov 24, 2017

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THE CAST OF STELLA AND LOU:
STELLA AND LOU logo.

Here's the cast of the next DTG production:

CHARACTER
           ACTOR
Stella
           Amy Taint
Lou
           Geoff Burkman
Donnie
           Adam Clevenger

I did auditioned for this. This is the one where I was studying the regional dialect, in this case, South Philly. I gave a strong audition that clearly and demonstratively displayed Lou as he was written by the playwright in the pages of the script; despite that, the answer was, obviously and unfortunately, "no."



Sun, Dec 3, 2017

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Closing Today

MARJORIE PRIME by Jordon Harrison, at The Dayton Theatre Guild.

Directed by Lorrie Sparrow-Knapp
Produced by Jeff Sams and Kathy Mola

Pastor Paul's modest church of twenty years ago now has a congregation of thousands, classrooms for Sunday school, a coffee shop, and much more. But today Paul will preach a sermon that will shake the foundations of his church's beliefs. What happens when something we believe will always remain the same suddenly changes? A finalist at the Humana Festival in 2014, this play opened off-Broadway soon afterward. In 2016, it was chosen as the eighth most-produced new play by American Theatre Magazine.

The Cast of The Christians

CHARACTER
           ACTOR
Paul
           Richard Young
Elizabeth
           Jill Evans
Joshua
           Thor Sage
Jay
           Steve Strawser
Jennifer
           Jackie Anderson



Mon, Dec 4, 2017

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In the audience icon
Though I haven't been able to attend everything that has been up in local theatres recently -- most, to be honest -- I have been able to get to a few shows.

  • It's a Wonderful Life, the Radio Play at Undercroft Players -- I was able to see this one during its limited run in mid-November. I've seen one other production of this, the Human Race Theatre Company production, performed at the Victoria Theatre a few years back, although I was told that was a different adaptation than this one. As for this recent one, it was a nice evening in the theatre with a fun and pleasant script and some lovely performances.
  • Tuesdays With Morrie mounted by the Young at Heart Players -- Saw this last weekend. Nice rendering of a great script.
  • THE CHRISTIANS logo.
    I saw the closing performance of this at my home theatre. I didn't realize it until yesterday at the performance, but this was actually the first time I had seen a full run of the script from start to finish. When I monitored a rehearsal run in prep to make the promocast, I left before the end because I knew I wasn't going to use the end of the show. At any rate, kuddos to the cast for a fine collective performance. More so, there were some new faces that we all hope are back on our boards in the future.



    Wed, Dec 6, 2017

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    In Concert icon
    Puddles Pity Party at Bogarts in Cincinnati, Dec 6, 2017. 8:00 pm - doors open at 7:00



    TONIGHT



    This will be my second time seeing "The Sad Clown With The Golden Voice" (AKA: Puddles Pity Party) in concert. This time it will be at Bogart's, also in Cincinnati, as was the first time I saw him in this past March, only then at the Taft Theatre.

    Last time I saw him he encouraged photos and videos be taken and posted. I'll be curoius to see if his policy is still the same. Since that March show, he's done his appearance on America's Got Talent and I will note that the raw ticket price went from $24 for his gig at the Taft to $39.50 for this show. That's a 65% increase: not astronomical by any means, but I will be interested to see if his philosophy on photos and videos has changed.

    My Ticketmaster eticket has no policy information on it so if there are restrictions, I have not been made aware of them. I probably ought to have looked on the Bogart's website for any standard stuff, but I haven't.


    CLEARANCES FOR ON-LINE PROMOTIONAL DV MOVIES APPEAR TO BE ENTERING INTO A NEW PHASE:
    THE OTHER PLACE logo.

    DTG Promocast Production logo
    Copyright © Symbol icon

    I reached out to Sharr White's agent at William Morris Entertainment about the clearance to use material from the script in the promocast for our penultimate production of this season. His response was that he thought DPS (Dramatists Play Service) might have a standard deal covering this.

    My initial reaction, which I did not communicate, was: No, no they don't. Because I have been down this road before. I have actually contacted them when I could not make any contact with a playwright or that playwright's representation. DPS, on numerous occasions has said, essentially, "We only handle the live stage performance rights; for other rights, you must contact the copyright owner." I have had similar responses in the past from Samuel French as well as other play publishers.

    Clearly, however, there is a sea change going on. Mr. White's agent passed my request on to DPS and I shortly got a message from Craig Pospisil, DPS's Director of Nonprofessional Licensing, whom, I have met, by-the-way, and his message, in part, was that DPS "can allow [us] to make up to three promotional video clips...." There are length and purpose stipulations that I always meet anyway. And, of course, I'm only making one.

    I know that there have been some license changes at Samuel French, but I don't know specifically that they have introduced clearances or stipulations about promotional videos. So far, whenever we've done a SF play I have been able to deal directly with the playwright to seek and receive clearance, and as they are the copyright owners, they get final say.

    Still, I'd say that the play publishers are finally catching up to the third-millennium reality of on-line promotion for play productions, most especially non-professional theatre, though, not exclusively. professional theatre is doing on-line promotion, but there is less of a penchant for using material from the scripts, though I have seen it done -- Victory Gardens Theatre did a few pages from Blackbird when they mounted in 2009 with William Petersen and Mattie Hawkinson.

    But, mostly, pro theatres tend to do commentaries with selected production staff members and/or selected cast members. I'm wondering if there might be questions of royalties being imposed if a professional theatre company wants to use material from the script, even on-line -- I have, by the way, never had that happen when I have sought clearance. There's also the fact that Equity actors must be paid for any promotional video or spot, regardless of the outlet (broadcast, cable, or internet) -- but that applies whether or not the actors are performing in the video, so it can't be much of a factor.

    It's good to see signs, however, that the play publishers are starting to recognize that they can streamline the process of granting the necessary clearance for this and help to better protect the material from copyright violations. Let's face it, there are a lot of promotions similar to what we do at DTG, in which the producers have not done their due diligence and are infringing on the copyrights. One thing I'd bet: if we are seeing the play publishers involving themselves in granting clearance, we are likely going to see them involved in curtailing violations, as well.


    Now, on an only slightly related note: I mentioned above that I have met Craig Pospisil. Well, his position at DPS is his day job. Craig is a playwright and was one of the adjudicators for The Dayton Playhouse FutureFest 2016, that being where we met and had several nice chats. Of big importance to me is that Craig is a McCartney fan -- so I can forgive him pretty much any other faults he may have. I also have borrowed two of his plays from the library where I spend forty hours a week, those being, Months on End, and Somewhere in Between, both which I borrowed months ago and haven't gotten around to reading, yet. I think I need to check those off my agenda list, especially since I have met my renewal limit and they are both due this coming Friday.



    Fri, Dec 8, 2017

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    I can't fathom that it's been 37 years ago that John left us. Here's to John, via his friend and partner



    COMING SOON! Puddles Pity Party at Bogarts in Cincinnati, Dec 6, 2017. 8:00 pm - doors open at 7:00

    I'll have a full Puddles Pity Party at Bogart's report, soon.

    There could well be a video from the festivities this time, too.

    I will say, right now, that it was the happy-fun-time evening I expected it to be, as was my first encounter with PPP last March.


    stay tuned for a link in this spot to the new K.L.'S FINE ARTS VITA
    Meanwhile, click here for K.L.'s up-to-date résumé




    Wed, Dec 13, 2017

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    CLICK HERE TO GO TO OXFAM
    AND DONATE TOWARD RELIEF EFFORTS FOR MOST, IF NOT ALL, OF THE NATURAL DISASSTERS THAT HAVE RECENTLY OCCURRED IN THE UNITED STATES AND ELSEWHERE IN THE WORLD



    In the audience icon
    Last night I saw the opening night of A Christmas Story at The Victoria, the annual joint production of The Human Race Theatre Company and The Victoria Theatre Association. Really fun night! I admit, I hate the movie, but it plays quite well as a live stage show. I recommend it.

    Plus, there are lots of good performances by the kids in the cast, including Noah Rutkowski (Bert in DTG's recent All My Sons) and Jack Lockwood, whose family I believe is somehow connected and involved in the Dayton Theatre scene (AKA: Dad Jake, Aunt Jennifer, Grandmother Dodie, and Grandpa Jim).

    Anyway, it plays through this coming Sunday. So, if you're close by, go see it -- it's fun!


    Puddles Pity Party at Bogarts in Cincinnati, Dec 6, 2017. 8:00 pm - doors open at 7:00

    STILL COMING

    My report on the Puddles Pity Party show at Bogart's one week ago tonight is coming.

    It'll probably be posted tomorrow.

    However, as you five regulars will know, "probably" is not anywhere close to anything like a guarantee, by any stretch of the imagination.


    STELLA AND LOU logo.
    Showing weekends
    Jan 19-Feb 4, 2018
    Tickets available...
    DTG Buy Your Tickets Now





    email me at KL_Storer@yahoo.com. And visit www.facebook.com/klstorer






    Dayton Theatre Guild
    forthcoming
    AUDITION NOTICES
    for the
    2017/2018 season

    THE OTHER PLACE by Sharr White
    BAKERSFIELD MIST by Stephen Sachs

    *Graphics art by Wendi Michael     



    The Other Place
    by Sharr White
    THE OTHER PLACE by Sharr White

    Audition Dates: Mon & Tue, Jan 22 & 23, 2018*, starting at 7:00 pm both nights.

    The Dayton Theatre Guild at the Caryl D. Philip TheatreScape
    430 Wayne Ave, Dayton OH, 45410
    937-278-5993  ;  www.daytontheatreguild.org

    Directed by Kathy Mola
    Produced by Deirdre Root

    Production Dates: Mar 16-Apr 4, 2018

    Juliana Smithton is a successful neurologist whose life is coming apart. She receives phone calls from her missing daughter, has a breakdown while delivering a speech, and believes she has a brain tumor. When she visits "the other place," a cottage on Cape Cod that the family once owned, the pieces start to fall into place. Fact blurs with fiction, past and present collide, and the truth about Juliana comes to the surface. This play premiered off-Broadway in 2011 before running on Broadway, where it received a nomination for the 2013 Tony Award.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are encouraged.
    • Please bring all scheduling conflicts between Jan 24 and Apr 4, 2018

    *audition requirements may be subject to revision

    CHARACTER
               NOTES
    Juliana
               to be announced
    Ian
               to be announced
    The woman
               to be announced
    The man
               to be announced

    character specs will be provided when available




    Bakersfield Mist
    by Stephen Sachs
    BAKERSFIELD MIST by Stephen Sachs

    Audition Dates: Mon & Tue, Mar 19 & 20, 2018*, starting at 7:00 pm both nights.

    The Dayton Theatre Guild at the Caryl D. Philip TheatreScape
    430 Wayne Ave, Dayton OH, 45410
    937-278-5993  ;  www.daytontheatreguild.org

    Directed by Doug Lloyd
    Produced by Rick Flynn

    Production Dates: May 11-27, 2018

    Maude Gutman, an unemployed bartender, lives in a trailer park and has purchased a painting for $3.00 at a thrift store that she believes to be an unknown painting by the great Jackson Pollock. She hires an art expert to verify the painting. Lionel Percy, a stuffy New York arts expert and a self-described connoisseur, goes to Bakersfield, California, to render his verdict as to whether Maude has a Pollock or a fake. This smash-hit comedy premiered in London in 2016 and has already had several productions across the United States.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are encouraged.
    • Please bring all scheduling conflicts between Mar 21 and May 27, 2018

    *audition requirements may be subject to revision

    CHARACTER
               NOTES
    Maude Gutman
               to be announced
    Lionel Percy
               to be announced

    character specs will be provided when available

    *ALL AUDITION DATES ABOVE MAY BE SUBJECT TO CHANGE



    PROMOTIONS:

    BE OR NOT, a movie by K.L.Storer. Starring Natasha Randall and Craig Roberts. Director of photography, Fred Boomer



    Still for sale, 'STILL ME' on DVD, http://brookwoodfilms.com/buy.html
    As an actor I was privileged to have a small roll in this multi-award winning, very touching, most poignant short film. I was further privileged to accept the award, on behalf of Beth McElhenny, for Best Family Film at the 2008 Secret City Film Festival in Oakridge, Tennessee. The film has won awards far more than that one time. Click on the image to go to the official site and see the successes, thus far.



    AND NOW, TO PROMOTE SOME THEATRE....



    THE COMING ATTRACTIONS AT MY HOME THEATRE, THE DAYTON THEATRE GUILD

    Continuing the 2017/2018 Season:

    STELLA AND LOU by Bruce Graham, at The Dayton Theatre Guild.

    Directed by J. Gary Thompson
    Produced by Barbara Jorgensen

    Lou's South Philadelphia bar is the kind of place where the same faces sit on the same barstools seven nights a week, drowning their sorrows into countless mugs of beer. Lou is happy to run the place and enjoy time with Stella when she stops in. But Stella has decided they need to take the next step in their relationship -- or she's moving to Florida. This funny, wise, and tender story is a mid-life portrait of friendship, and maybe more. At the play's premiere at Chicago's Northlight Theatre in 2013, it was cheered by critics for its humor and honesty.

    The Cast of Stella and Lou

    CHARACTER
               ACTOR
    Stella
               Amy Taint
    Lou
               Geoff Burkman
    Donnie
               Adam Clevenger




    And following Stella and Lou at the Guild
    THE OTHER PLACE by Sharr White, at The Dayton Theatre Guild.

    Directed by Kathy Mola
    Produced by Deirdre Root

    Juliana Smithton is a successful neurologist whose life is coming apart. She receives phone calls from her missing daughter, has a breakdown while delivering a speech, and believes she has a brain tumor. When she visits "the other place," a cottage on Cape Cod that the family once owned, the pieces start to fall into place. Fact blurs with fiction, past and present collide, and the truth about Juliana comes to the surface. This play premiered off-Broadway in 2011 before running on Broadway, where it received a nomination for the 2013 Tony Award.

    Audition Dates: Mon & Tue, Jan 23 & 23, 2018*, starting at 7:00 pm both nights.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are encouraged.
    • Please bring all scheduling conflicts between Jan 23 and Apr 4, 2018

    CHARACTER
               NOTES
    Juliana
               to be announced
    Ian
               to be announced
    The woman
               to be announced
    The man
               to be announced
    character specs will be provided when available




    Dayton Theatre Guild -- announcing our 2017-2018 season

    the last show of the season....

    BAKERSFIELD MIST by Stephen Sachs
    Bakersfield Mist
    by Stephen Sachs

    Maude Gutman, an unemployed bartender, lives in a trailer park and has purchased a painting for $3.00 at a thrift store that she believes to be an unknown painting by the great Jackson Pollock. She hires an art expert to verify the painting. Lionel Percy, a stuffy New York arts expert and a self-described connoisseur, goes to Bakersfield, California, to render his verdict as to whether Maude has a Pollock or a fake. This smash-hit comedy premiered in London in 2016 and has already had several productions across the United States.

    Directed by Doug Lloyd
    Produced by Rick Flynn

    Show runs May 11-27, 2018

    Auditions will be held Mon & Tue, Mar 19 & 20, 2018*


    *AUDITION DATES ARE SUBJECT TO CHANGE


    DTG Buy Your Tickets Now click for information
    on purchasing tickets


    The Dayton Theatre Guild
    at the
    Caryl D. Philips TheatreScape
    430 Wayne Ave.
    Dayton, Ohio  45410
    937-278-5993

    www.daytontheatreguild.org

    *Graphics art by Wendi Michael     




    And, if you live close by or will be visiting soon, check out these other theatres in the greater Dayton Ohio area for their upcoming or current productions:

  • Beavercreek Community Theatre
  • Bespoke Theatre *(facebook page) -- Dayton
  • The Black Box Improv Theatre -- Dayton
  • Brookville Community Theatre
  • Caesar's Ford Theatre, Inc -- Xenia
  • Cedarville University -- Cedarville
  • Clark State Community College Theatre Program -- Springfield
  • Dare to Defy Productions -- Dayton
  • Dayton Playhouse
  • Encore Theater Company -- Dayton
  • Epiphany Players Drama Ministry -- Dayton
  • Human Race Theatre Company -- Dayton
  • Lebanon Theatre Company -- Lebanon
  • La Comedia Dinner Theatre -- Springboro
  • The Magnolia Theatre Company -- Dayton
  • The Playground Theatre -- Dayton
  • Playhouse South -- Kettering
  • Sinclair Community College Theatre -- Dayton
  • Springfield Civic Theatre
  • Springfield StageWorks
  • Tipp City Players Community Theatre
  • Town Hall Theatre -- Centerville
  • Troy Civic Theatre -- Troy
  • Undercroft Players -- Dayton
  • University of Dayton *U.D. link is here, but it seems difficult to find the season at the site
  • Victoria Theatre Association -- Dayton
  • Wright State University -- Beavercreek
  • X*ACT: Xenia Area Community Theater
  • Yellow Springs Center Stage -- Yellow Springs
  • Young at Heart Players -- Dayton
  • tHe Zoot Theatre Company -- Dayton
  • KNOW OF A LOCAL THEATRE COMPANY THAT SHOULD
    BE ADDED? LET ME KNOW AT KL_Storer@yahoo.com

    That is, one within a 60 minute
    drive from the Dayton, Ohio area




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