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

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July 4, 2018 - Independence Day

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Our Path to Greatness Must Be Restored

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

Let me repeat that one line: "Decisions are made by those who show up."

This is virtually the same post I did last Fourth of July. It seems like it bears repeating. The situation is more dire for The United States this year than it was last year. Some people don't believe it, maybe some of them are in denial. But people in power in our government, especially the executive branch, have created concentrations camps where they are purposefully abusing children and their parents; they are ripping families apart as a deliberate act of cruelty. They are knowingly, deliberately violating basic human rights and attempting to dehumanize an entire group of people. A larger swath of "Americans" are going after "the other," too. They are systematically progressing a devaluation of gays, lesbians, transgenders, women, African-Americans (though, that's not exactly a new sport in America, is it?), Muslims, other foreigners (especially non-white, non-European immigrants), the disabled and, for God's sake, Jews -- this mostly being various of the federal, state and local governments. The people who poo-poo the clear parallels to what the Third Reich did in the 1930' and 1940's are not paying attention, or have been taught the erroneous story that it wasn't really that bad, or, of course, that the Holocaust is a hoax. Or maybe they refuse to believe that such could ever happen here, not in modern times. These comparisons are a stretch to them. Sure, we've had our "checkered past," but we've grown past those things -- you know, the genocide of Manifest Destiny, the slave culture, the internments camps, Jim Crow laws, such things as these. I'm not sure I know how such a stance accounts for brazen neo-Nazi rallies happening in present-day America or politicians and clergy unabashedly calling for the execution of homosexuals. I don't know how we can have grown past it when we are seeing acts by the executive branch that correspond virtually perfectly to those of the Chancellor of Germany and his government just prior to World War Two.

There are too many in government, with the help of particular of the uber-rich, who are threatening the very fabric of American democracy, and not inadvertently. The arduous path toward the ideal America that the document we celebrate today set us upon those 243 years ago is seriously threatened. An American oligarchy is almost firmly set in place and the democracy that was founded and then grew into something miraculous that has always promised to get more miraculous has been compromised, has been wounded.

I think far, far more of us Americans don't want this than do want it. Yet, I, personally, feel mostly powerless. I am not sure what effective action I can take to make a difference, to help us get back on that path, trudging toward the ideal America, one we have never arrived at, if we're honest with ourselves, but the one we have struggled toward and have, in many ways, made great strides toward. As for what I can do now as my part to help us get back on that track, I can't even hardly throw money at anything, but I need to have some sort of engagement, even if it's simply to make sure I go to the polls and encourage everyone I can to do the same. Though I am worried about how compromised the election will be due to some in power here (again, federal, state, and local) and by foreign entities. And isn't it interesting that those in the government who are actually trying to secure and protect our election process are getting stonewalled by others in our own government?

I guess the answer is that with all the meddling and the chicanery that will be happening, the best hope for America is overwhelming voter participation. Let's face it, a degraded SCOTUS has just co-signed undemocratic gerrymandering, and voter suppression is a big game in many places. Is there any reason whatsoever to believe that the foreign (i.e.: Russian, mostly) interference and influencing, as well as hacking, is going to be any less than it was in 2016? I'm afraid it's going to be worse. Overwhelming voter numbers are our best chance.

It also might not be bad idea if all that need for the purity of a candidate, "or I ain't votin'!" foolishness be set aside. It's prevalence in the last presidential election, by far, wasn't the only reason we have the current occupent of the Oval Office that we have, but anyone who thinks it wasn't a contributor isn't thinking well on the subject.

I could go on and on, but, I'll stop here with this reiteration:

"Decisions are made by those who show up."

Painting of the Continental Congress at the signing of the Declaration of Independence

IN CONGRESS, July 4, 1776.

The unanimous Declaration of the thirteen United States of America

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    For Quartering large bodies of armed troops among us:

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

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

    For imposing Taxes on us without our Consent:

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

    For transporting us beyond Seas to be tried for pretended offences

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

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

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

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

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

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

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

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

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

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

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

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

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

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







THE MAN WHO SHOT LIBERTY VALANCE logo.
POST-MORTEM
xxxx
The Narrator and his beard

I wouldn't say this will be the deepest, most thorough post-mortem of a show that you'll ever read, but I have to write something about this fine, fine experience. When I read the script it seemed to me that I was best typed as the narrator. I was far too old to be either Ransom Foster or Liberty Valance, and a little bit too old to bring off Bert Barricune. I think I also could have played the Marshall, but for whatever reason, my focus was on The Narrator. The ungodly, pretty-much-out-of-control beard I had going was prime for the role, too. When Director J. Gary Thompson called me to offer me the role, he even said, "There's one condition: you have to keep the beard." I don't think the beard was the reason I got the role, I'm confident I gave a great read in audition, but I don't think it hurt my chances, and it was perfect for The Narrator.

As for The Marshall, which I did not read for, I could have pulled him off successfully, I have no doubt about that, but I think we were extraordinarily fortunate to have had Jim Walker step into the role. His work was nothing short of dead-on fantastic. Yeah, I believe I could have made a decent Marshall, but I am so very glad Jim got to give us his version.

There were so many stellar performances in the production: Mike Beerbower as Ransome Foster, Kelli Locker as Hallie Jackson, Mark Diffenderfer as Bert Barricune, Austin Vega as Jim Mosten, and Zach Katris as Liberty Valance, these especially were outstanding performances.

The rest of the cast turned in good work, too: Trenton Napier (Jack Dowitt), Josh Richardt (Deputy), and the ensemble members (Mark Goodwin, John Juergens, Jamie McQuinn, Dan Raridan, and Steve Varu). What could be called the weakest performance was only comparatively so and was not "bad" work, at all.

All the way around this was a production it's very much worth having been a [art] of. Another great set from Chris "Red" Newman, costumed well by Barb Jorgensen and carol Finley, crack production crew, in general, which, along with Chris, Barb, and Carol, also consisted of Mellissa Kerr Ertsgaard (assistant director), Mellanie Shannon (production stage manager), Scott Wright (lighting designer), Sarah Saunders (my co-sound designer), Brian Erstgaard (who subbed for Scott Wright as light tech during a performance),Brian Buttrey (sound tech), with Adam Randolph and Sarah saunders filling in on sound the first weekend, Logan Dabney (stage crew & gun wrangler), Scott Madden (weapons specialist), Gary Minyard (fight choreographer), and Adam Randolph (again) and Alaina Martin, both who filled in the last weekend as crew for the show when our AD, Melissa, had an important conflict and couldn't be there.

And, of course, Director J. Gary Thompson guided us toward his wonderful vision for the show.

As for my overall assessment of my work on the show? I certainly am happy with the soundwork Sarah and I contributed to the show. I am chagrined that my favorite sound effect from the show -- a bullet hitting the saloon piano -- was Gary's idea and not mine!

I am also, overall, happy with my Narrator. I'm not quite as happy about the times I flubbed lines or out-and-out went up. My personal disaster show, which I blogged about in the June 18 post, does not thrill me the least bit, either. Still, I am most happy with the Narrator that I constructed, and that Gary let me construct on my own. One of the other actors in the show told me he thinks it is hard to create a strong personality for a character that virtually never interacts with the other characters in the show, and he thinks I infused great personality into the Narrator. I greatly appreciate that compliment, though I am not so sure it's a greater task to create a personality under those circumstance, but I am thankful he thought I created such a personality for the Narrator. However, the insecure egomaniac in me does note that during the many standing O's we got for the show, the audience did not stand until later in the curtain calls, after I had already taken my bow -- meh.

Now, some pics:

xxxx
Mike Beerbower strapping on his gun belt
xxxx
Kelli Locker at her dressing room station
xxxx
Mark Diffenderfer looking at his lines
xxxx
I wait for my cue for my next entrance
xxxx
PSM Mellanie Shannon in the greenroom
xxxx
Jim Walker in the greenroom
xxxx
Trent Napier in the greenroom
xxxx
Jaime McQuinn waits back stage
xxxx
Logan Dabney & Mellanie, back stage
xxxx
Lighting Designer/Tech Scott Wright, and Director J. Gary Thompson in the tech booth
xxxx
The gun prop table
xxxx
The cast (and crew) was addicted to Cheez-Its! -- That would be Austin Vega photo-bombing
xxx
Ensemble members (Josh Richardt, Mark Goodwin, Steve Voris, & Trent Napier), with Hallie Jackson (Kelli Locker) in black, and the narrator (me) in the background
photo by Craig Roberts
xxxx
The Narrator
photo by Craig Roberts
xxxx
Ransom Foster (Mike Beerbower) & Hallie
photo by Craig Roberts
xxxx
Jim Mosen (Austin Vega) & Ranse
photo by Craig Roberts
xxxx
Bert Barricune & Ranse
photo by Craig Roberts
xxxx
The Marshall (Jim Walker) & Hallie
photo by Craig Roberts
xxxx
Liberty Valance (Zach Katris) & Hallie, with two of Liberty's gang (Steve Voris & Dan Raridan) in the background
photo by Craig Roberts
xxxx
Hallie & Ranse
photo by Craig Roberts
xxxx
Jim sweeps up the saloon
photo by Craig Roberts
xxxx
Liberty Valance is NOT a good man!
photo by Craig Roberts
xxxx
Ranse & the Marshall
photo by Craig Roberts
xxxx
Ranse & Bert
photo by Craig Roberts
xxxx
Ranse & Liberty
photo by Craig Roberts
xxxx
Bert & Hallie
photo by Craig Roberts
xxxx
The narrator
photo by Craig Roberts
xxxx
Ensemble during the Epilogue
photo by Craig Roberts
xxxx
The whole cast of The Dayton Theatre Guild production of The Man Who Shot Liberty Valance
photo by Craig Roberts
xxxx
One last look at my Narrator and his beard
photo by Craig Roberts
xxxx
The evening of Closing Day, the beard comes off!
xxxx
Now, I move on from The Narrator to John Adams *(see the next entry)



JEFFERSON & ADAMS, by Howard Ginsberg -- at X*ACT: Xenia Area Community Theatre
The performance last Saturday at Caesar Creek Vineyards went quite well. It was an outside performance and it was hot and humid, so we did bake just a little bit in our full period costuming -- okay, more than a little bit.

I think all of us tripped over a few lines during the reading, and a few lines were dropped. I actually said a wrong word at one point -- I don't even remember what word it was or what I said instead. Toward the end of Act II my mouth was so dry that I mangled a couple words, not getting all the consonants out of my mouth.

Those little snafus aside, it was a good night and the audience of about two dozen liked it, so....

Tomorrow night we do a cue-to-cue for the performances this Saturday and Sunday at X*ACT.



Sat, July 6, 2019

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In Memorium
Once again I've missed a lot of passings I'd like to recognize. Here they are now.

Rest in Peace Seymour Cassel, Jan 22, 1935 – Apr 7, 2019

Rest in Peace Georgia Engel, July 28, 1948 – Apr 12, 2019

Rest in Peace Ken Kercheval, July 15, 1935 – Apr 21, 2019

Rest in Peace John Singleton, Jan 6, 1968 – Apr 28, 2019

Rest in Peace Peggy Lipton, Aug 30, 1946 – May 11, 2019

Rest in Peace Doris Day, Apr 3, 1922 – May 13, 2019

Rest in Peace Tim Conway, Dec 15, 1933 – May 14, 2019

Rest in Peace Leon Redbone, Aug 26, 1949 – May 30, 2019

Rest in Peace Dr. John, Nov 20, 1941 – June 6, 2019

Rest in Peace Max Wright, Aug 2, 1943 – June 26, 2019

Rest in Peace Arte Johnson, Jan 20, 1929 – July 3, 2019



Sun, July 7, 2019

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Closing Today

JEFFERSON & ADAMS, by Howard Ginsberg -- at X*ACT: Xenia Area Community Theatre
Jefferson & Adams: A Stage Play, written by Howard Ginsberg, is the story of the turbulent 52-year friendship of Thomas Jefferson, John Adams, and Adams' wife, Abigail. Based on the collection of letters between these prolific founding fathers – and one equally astute wife -- the play fuses compelling political thoughts with passionate personal beliefs. By focusing on the unique relationship between the characters and the spirit of the time, the play reveals each of the three as thoughtful, persevering, dedicated, innovative, relevant -- and human.

An X*ACT: Xenia Area Community Theater production

Directed by Amy Taint

  • Saturday, June 29, 8:00 -- Caesar Creek Vineyards
  • Saturday, July 6, 7:30, and Sunday July 7, 3:00 -- X*ACT: Xenia Area Community Theater.
  • CHARACTER
          ACTOR
    Thomas Jefferson
          Mike Taint
    John Adams
          K.L.Storer
    Abigail Adams
          Amy Taint

    I'll have a post-mortem, of some sort, posted soon.


    XXX


    Tue, July 15, 2019

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    MR. ADAMS, MR.ADAMS.......OH, WRONG SHOW:
    JEFFERSON & ADAMS, by Howard Ginsberg -- at X*ACT: Xenia Area Community Theatre
    POST-MORTEM

    Our three dramatic readings of Jefferson & Adams: a Stage Play went well, I'd say. I was happy with my work and I think the ensemble did a good job.

    The first show was an outdoor performance at Caesar Creek Vineyards the last weekend of June. Probably about a dozen people, maybe a few more, were in attendance, on the patio at the vineyard. It was a hot day, somewhere around 95° -- though with us actors in full period costuming, it felt like 100+° -- and it was a tad muggy, as well. I, in fact, despite having a glass of water usually handy, still had several spots where my mouth was so dry that I swallowed some consonants as I spoke; these were all moments when I was up from my desk and was down center, and thus, away from the inviting, wet drink of water that I needed at the moment. My two castmates, Mike and Amy Taint, had similar dilemmas, but we all soldiered through. The audience liked the show, so, there ya go!

    The next weekend we had two nice performances at the X*ACT theatre to reasonably full houses. It was a nice venture and I'm glad I was approached and that I decided to sign on.

    Of course, there's always a wrinkle in the fabric. This time it was my being hit with an attack of summer allergies during the week leading up to the final two shows. Adams yells a bit in the show. But, you know, you push through. It wasn't too terrible, but I had a few unpleasant moments. I made it though and some audience members said they could not tell, so, I may be exaggerating the problem, in my head.


    SO HERE'S HOW I KEPT MY LIFE A LITTLE HECTIC POST-JEFFERSON & ADAMS:
    NEXT icon SOUND DESIGNING ICON FutureFest 2019 at The Dayton PlayHouse.

    Somewhere during the time I had started rehearsals for Jefferson & Adams, I started seeing posts that FutureFest 2019 was in need of a sound designer for the forthcoming festival. As time went on, the call kept being repeated. Eventually I contacted the powers that be and asked if they still were in need. They were. I said I'd do it, but that I wouldn't really be able to give it attention until after Jefferson & Adams closed. I also insisted that I not be the sound tech; the only time I don't want to sit in the audience at FutureFest is when I am on stage for a FutreFest production.

    Unfortunately, I was not paying close enough attention to the calendar when I made that caveat about when I could start. Jefferson & Adams closed Sunday, July 7. I'd failed to recognize how close on this heel FF2019 is. It opens Friday, July 19. That means that the first tech rehearsal would be Friday, July 12, with five more following over the course of the next two days. I had only given myself four days to meet with six directors and find out their needs, then harvest and curate music and sound effects (and likely have to build some sound), then program the sound cues for six productions -- and during a period of time when I had no vacation leave to spare, so I could not take off work to attend to this stuff.

    The good news is that three of the six directors already knew what music they wanted, for pre-show, intermission, and production music, with some of them not needing various of the three categories due to the nature of their shows. The next good news is that most of sound effects for all of the shows were either ones that I had already in my library or was able to easily acquire. The little Foley sound I had to create was not difficult. The three shows I had to curate music for were also not a challenge. One was especially easy since I went with Mozart for all of pre-show, intermission, and all production music.

    Still, despite that things could have been far more tasking than they fortunately have been, I have been dedicating all my time away from the rent-payer (and sleep) to FutureFest 2019 sound design since Monday the 8th.

    We've moved into the dress rehearsals, (two a night), and will finish that up late tomorrow evening. Of course, there are tweaks to the sound going on. In a couple cases there are some sound added that either I or the director missed and realized such during the techs over the weekend.

    Friday the festival opens. So, however ready the sound is, it's go time, regardless......


    VIDEO PRODUCTION STUFF ICON
    PROFESSIONAL GIG ICON
    I'll be shooting a DV movie Thursday evening. I'll share more about this later.


    ANNOUNCING THE CAST:
    THE MUSICAL COMEDY MURDERS OF 1940 logo.

    The Cast of The Musical Comedy Murders of 1940

    CHARACTER
               ACTOR
    Elsa Van GrossenKnueten
          Lynn Vanderpool

    Michael Kelly
          Brad Bishop

    Patrick O'Reilly
          Dave Nickel

    Ken De La Maize
          Jeff Sams

    Helsa Wenzel
          K.A. Mercuri

    Nikki Crandall
          Lolli Mitchell

    Eddie McCuen
          George Merusi

    Marjorie Baverstock
          Jennifer Lockwood

    Roger Hopewell
          Chuck Larkowski

    Bernice Roth
          Melissa Ertsgaard



    Fri, July 19, 2019

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    PLAYWRIGHT WORK:
    The Writer icon
    Final Draft 11 icon
    Despite how busy I have been with the sound design for the six shows in this weekend's FutureFest 2019 (see below), I have still managed to do a small bit of tweaking to the third draft of my stage play.

    What happened was this: a few days back I suddenly got clarity, for whatever reason, for how to clean up a particular clumsy piece of dialogue. Well, you know how it goes, once I was in there.... I didn't get obsessed and suddenly allow this to rob my attention from other things, (aka: FF19), but I have slightly re-written a line here or there, usually making it more concise -- though people don't always speak concisely so some more wordy dialogue has thus far been left alone.

    Clearly the fact that I've been involved in the productions of six new plays this past eleven days has some significance on why I was thinking about my manuscript, and why I had an urge to fix something. Not that I don't think upon it at times when I'm not actively working on it as the main artistic project of the moment, but the last week-plus has magnified that. It's an easy bet that I will come out of the intense, condensed weekend of living and breathing new plays and socializing with the playwrights, the adjudicators, and all the FF community, on fire to get back to working on mine more rigorously and move myself just that much closer to a final draft.

    At the moment only one person has read the whole play; she read the first draft and we haven't really talked about any critical response. She actually will likely read one of the roles when I eventually get to a reading. A veteren theatre person (acting, et al) has a copy of that draft, as well, but last I spoke to him, he had not read it yet. Someone else has a copy of the second draft and promises that she'll finish it sometime soon and respond with her good, bad, and uglies.


    Opening Today

    FutureFest 2019 at The Dayton PlayHouse.

    Ready or not, the game is on tonight. So if the sound is not ready, then it's not ready. But, I think it's ready. It's been a busy eleven days getting it all together. I'm looking forward to being just an audience member for the weekend, but I'll probably be pretty conscious of the sound design and whether or not it's working. Tonight, First show up is The Princess at Midnight, by Linda Ramsay-Detherage.


    Last night, FF19 had one of FF's occasional bonus pre-festival events. Native-Daytonian actor, Annie Pesch debuted her one-person show, Fractured, that she commissioned playwright, and past FutureFest finalist, Desireé York to write. Ms. York also directed this performance. It's a really great start on a very fine and interesting script, with Annie giving a stellar performance. As was pointed out several time last night, once they have a chance to do further workshopping of the script and Annie has more miles logged performing it, it's all going to be even more impressive.


    VIDEO PRODUCTION STUFF ICON
    PROFESSIONAL GIG ICON
    Annie's performance of Fractured was the DV movie gig I referred to in Tuesday's post. It was an actual paid gig, and I really socked it to her with my fee quote! Now I can get that Lamborghini Countach! -- cherry-red, of course!

    For preproduction, I audited her Wednesday, late-afternoon rehearsal, did some test framing and came to some conclusions about how I should shoot, including how to best record audio. I shot two-camera, with one camera stationary on a tripod for the master shot of the stage, and another, also on a tripod, but one I was using for closer shots and pans to get a little more intimate with moments in the performance. I used two mics to record the audio with my Tascam Dp-03 8 Track Digital Portastudio Recorder. When I get into post, next week, I'll sync that audio with the footage from both cameras, then edit to final cut from there.

    I was stationed in the center of row D, the fourth row from the front, so, between the master-shot camera and the one I actively operated, as I stood next to the other, I did obstruct the view of the stage from quite a few seats behind me, in the center. Though there was a good-sized audience, fortunately, it wasn't so large that people had to take one of those seats. It was the best spot for me to get good footage, so that was that.



    Sun, July 21, 2019

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    PLAYWRIGHT WORK:
    The Writer icon
    Final Draft 11 icon
    You know? Once you get back into working on a draft, even if it's just little this-&-that things, you got this momentum going, even if it's at molasses-drip speed, and you keep doing your little revisions and tweaks. If you're lucky, all you're doing is rewording things to make them more concise, as I wrote about in yesterday's post, or you're cutting things (murdering little darlings), or re-wording things for more clarity.

    The bitch comes when you have a manuscript that is already much longer than you intended, than you want, and you realize you need to add something. Even if it's only a four-word sentence, you cringe, at least emotionally, as you begrudgingly key the words. Now you're calculating what you can sacrifice to make up the difference.


    Closing Today

    FutureFest 2019 at The Dayton PlayHouse.

    Friday:

    • The Princess at Midnight, by Linda Ramsay-Detherage

    Yesterday:

    • Drone, by Norman Mathews
    • Which Way the Wind Blows, by Robert Weibezahl
    • On the Horizon, by Shelli Pentimall Bookler

    Up today:

    • Fall With Me, by Jared Eberlein
    • Men Overboard, by Rich Orloff


    Tue, July 23, 2019

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    PLAYWRIGHT WORK:
    The Writer icon
    Final Draft 11 icon
    The slaughter of little darlings (as in "to murder your little darlings") has begun. It's not quite yet a massacre, but give it time. I'm working on what I still consider draft number three. On this pass the focus has been this trimming, as I wrote in the last post.

    Now that FutureFest 2019 is on the books, I plan to give most of my attention to finishing this Draft 3 and then I'll schedule that first table reading.

    In the progress since last I posted, I'm still adding to the text here and there rather than cutting, the latter being the goal, of course. But what's been added seems necessary, and more is being cut than added, so the end-sum is still a lower word count.

    I'm into a challenging spot at the moment. I've just worked on a scene where a character tells a relevant story and thus has several long monologues. My goal is to cut into them significantly without losing much substance or information. This pass through I am not sure I cut significantly enough. I probably will make another pass at some point and try for deeper excision. I'm coming up on monologues by the other characters that will be under the same knife. It hasn't thus far been that massacre of little darlings, mentioned above, may be about to commence, but at some point it will probably come to that. I would like to get the play down to a 80-90 minute one-act, as I believe I've written before; that'll unavoidably mean that I'm going to cut things that I hate to see go. I've done a little of that the last few days, but I know it'll likely get worse, if not in this draft, then later.



    Thu, July 25, 2019

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    PLAYWRIGHT WORK:
    The Writer icon
    Final Draft 11 icon

    I've murdered my little darlings, though I doubt that's a process that's done as of yet. I've re-written some passages. I think it's time to declare that Draft Number Three is locked. Mind you, this is not anywhere close to the final draft, of course. With the exception of one time when I did so, alone, just to get a decent timing on the full-length, this play has not otherwise been spoken out loud.

    The next step is to remedy that, because I need to hear how it plays as it is. I'm in the midst of arranging the first table reading of the play. I have secured two of the three characters, have a hopeful request in for the third, and am contemplating who to approach about reading the stage directions that will be necessary to be read.

    Who else to invite is the other consideration: those with the ears to hear the play and give feedback and criticism worth my attention. For a reason I won't spell out here, I have to be careful who I invite to the reading. There are some, whose input I would find most valuable, whom I have to keep away from the play, who cannot know anything about it. My guess is that anyone from the Dayton theatre community who happens to read this will likely suspect what that reason is. I'm not blatantly stating the reason out of some weird, pseudo-superstition (or, maybe: outright superstition).

    My goal is to have this table reading within the next couple weeks. My other goal is to not touch the manuscript again until after the reading.



    Wed, July 31, 2019

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    PLAYWRIGHT WORK:
    The Writer icon
    Final Draft 11 icon
    The reading will be this Sunday evening. I have all four readers, three for the characters and the narrator (to read the necessary stage directions). I've also invited a few others to attend and give me feedback. Again, as I've written before, there's a certain sector of the Dayton theatre community that I have to keep away from this manuscript, even though some of members would have feedback in which I'd find value. But, despite this particular restriction, I'd like to have about six to ten people, whose thoughts I can trust, in the room hearing this draft and responding to it.

    Though my goal to have the table read has not yet been thwarted, my goal to not touch this draft before it's read did not make it unscathed. At least the changes were minimal, and most of the few that I've made were simply copy-editing changes, mostly fixing typos. I did change a couple words in one place -- I replaced "quite literally" with "really, actually." The former may be more literate, but the latter fits the context much better.


    THE MUSICAL COMEDY MURDERS OF 1940 logo.
    SOUND DESIGNING ICON
    Saturday I had a brief meeting with Musical Comedy Murders of 1940 director, Doug Lloyd about sound for this one. So, I'll soon embark on that.


    THEATRE AWARDS!:
    OCTA - Ohio Community Theatre Association Daytonys - Dayton theatre Hall of Fame Dayton theatre Guild Murphy Awards

    CONGRATULATIONS!
    First, let's go back a couple weeks to July 13, when the Ohio Community Theatre Association (OCTA) west regional competition was held at Troy Civic Theatre. The Guild took Our Mother's Brief Affair. It did quite well:

      Excellence in Acting

      • Mark Sharp
      • Kerry Simpson
      • Kathy Campbell

      Excellence in Directing

      • Patrick Allyn Hayes

      Excellence in Ensemble

    It will go on to compete in the State OCTAfest in September.

    CONGRATULATIONS!
    Congratulations are in order to everyone who won a Daytony Award for the 2018/2019 season. DTG was one of the theatres that did exceptionally well at the awards ceremony this past Saturday evening. 85 awards were given out for DTG productions. That's not too damn bad, at all! Here are the Guild Daytonys for the 2018/2019 season:

      PRODUCTION DESIGN AND TECHNOLOGY

        SET DESIGN

        *Awards of Merit

      • David Shough: Nice Girl
      • Chris Newman: The Man Who Shot Liberty Valance

        *Awards of Excellence

      • Chris Harmon: The Little Foxes
      • Ranger Puterbaugh: This Random World
      • David Shough & Chris Newman: The Shadow Box

        LIGHTING DESIGN

        *Awards of Merit

      • David Shough: The Shadow Box
      • Scott Wright: Our Mother’s Brief Affair
      • Marjorie Strader: The Man Who Killed the Cure

        *Awards of Excellence

      • Jason Vogel: This Random World
      • Tony Fende: The Man Who Shot Liberty Valance

        SOUND DESIGN

        *Awards of Merit

      • K.L.Storer: This Random World
      • K.L.Storer: The Man Who Killed the Cure
      • David Shough & K.L.Storer: The Shadow Box
      • K.L.Storer: Nice Girl
      • Sarah Saunders & K.L.Storer: The Man Who Shot Liberty Valance

        COSTUME DESIGN

        *Awards of Merit:

      • Olivia Hildenbrandt: This Random World
      • David Senatore: Nice Girl
      • *Awards of Excellence

      • Carol Finley: The Little Foxes
      • David Senatore: The Man Who Killed the Cure
      • N. Lynn Brown: The Shadow Box
      • Carol Finley & Barbara Jorgensen: The Man Who Shot Liberty Valance

        PROPERTIES

        *Awards of Merit

      • Jovan Terrell: The Little Foxes
      • Deirdre Root: This Random World
      • Wendi Michael: The Man Who Killed the Cure
      • Rick Flynn: The Shadow Box
      • Deirdre Root: Nice Girl
      • Rick Flynn: The Man Who Shot Liberty Valance

      DIRECTION

        *Awards of Merit

      • Marjorie Strader: This Random World
      • Jeff Sams: The Man Who Killed the Cure
      • Debra Kent: Nice Girl
      • David Shough: The Shadow Box
      • J. Gary Thompson: The Man Who Shot Liberty Valance

        *Awards of Excellence

      • Kathy Mola: The Little Foxes

      ACTING

        PERFORMANCE IN A SUPPORTING ROLE

        *Awards of Merit

      • Jeff Sams: The Little Foxes
      • Gail Andrews Turner: The Little Foxes
      • Erin McGee: This Random World
      • Matthew W. Smith: This Random World
      • Melissa Kerr Ertsgaard: The Man Who Killed the Cure
      • Ryan Shannon: The Man Who Killed the Cure
      • Kristyna Zaharek: The Man Who Killed the Cure
      • Tim Rezash: Our Mother’s Brief Affair
      • Kerry Simpson: Our Mother’s Brief Affair
      • Heather Atkinson: Nice Girl
      • Scott Knisley: Nice Girl
      • Jim Walker: The Man Who Shot Liberty Valance

        *Awards of Excellence

      • Don Campbell: The Little Foxes
      • Libby Holley Scancarello: The Little Foxes
      • Zack Katris: The Man Who Shot Liberty Valance
      • Geoff Burkman: The Shadow Box
      • Cassandra Engber: Nice Girl

        PERFORMANCE IN A LEADING ROLE

        *Awards of Merit

      • Saul Caplan: The Little Foxes
      • Dave Nickel: The Little Foxes
      • Susie Gutierrez: This Random World
      • Jane McBride: This Random World
      • Ranger Puterbaugh: This Random World
      • Jackie Anderson: The Shadow Box
      • Megan Cooper: The Shadow Box
      • Melissa Kerr Ertsgaard: The Shadow Box
      • Chuck Larkowski: The Shadow Box
      • Mandy Shannon: The Shadow Box
      • Kathy Campbell: Our Mother’s Brief Affair
      • Mark Sharp: Our Mother’s Brief Affair
      • Carly Laurette Risenhoover-Peterson: Nice Girl
      • Mike Beerbower: The Man Who Shot Liberty Valance
      • Kelli Locker: The Man Who Shot Liberty Valance

        *Awards of Excellence

      • Cheryl Mellen: The Little Foxes
      • Dave Williamson: The Man Who Killed the Cure
      • J. Gary Thompson: The Man Who Killed the Cure
      • Brendan Sheehan: The Shadow Box
      • Mark Diffenderfer: The Man Who Shot Liberty Valance

        ENSEMBLE PERFORMANCE

        *Awards of Merit

      • Nice Girl
      • This Random World
      • The Man Who Killed the Cure
      • The Shadow Box
      • Our Mother’s Brief Affair
      • The Man Who Shot Liberty Valance

        *Awards of Excellence

      • The Little Foxes

      SPECIAL CATAGORIES

      • Wendi Michael and Chris Harmon: Set Dressing for The Little Foxes

      OUTSTANDING PRODUCTION

      • The Little Foxes
      • The Shadow Box

    I'll also post the link to the complete comprehensive Daytony list for the Dayton theatre community in general as soon as one is available.

    CONGRATULATIONS!
    Also congratulations to all those who won Murphy Awards at our Dayton Theatre Guild in-house ceremony, Sunday. Here is the list of winners:

    • Best Set Design -- Chris Newman: The Man Who Shot Liberty Valance
    • Best Lighting Design -- Jason Vogel: This Random World
    • Best Sound Design -- Sarah Saunders/K.L.Storer: The Man Who Shot Liberty Valance
    • Best Costumes Design -- Carol Finley/Barb Jorgensen: The Man Who Shot Liberty Valance
    • Best Properties -- Jovan Terrell: The Little Foxes
    • Best Supporting Actor -- Zack Katris: The Man Who Shot Liberty Valance
    • Best Supporting Actress -- Heather Atkinson: Nice Girl
    • Best Actor -- Dave Williamson: The Man Who Killed the Cure
    • Best Actress -- Cheryl Mellen: The Little Foxes
    • Best Director -- Kathy Mola: The Little Foxes
    • Best Ensemble -- Nice Girl
    • Best Overall Show -- The Little Foxes


    Thu, Aug 22, 2019

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    PLAYWRIGHT WORK:
    The Writer icon
    Final Draft 11 icon

    Ugg! Another revision period is upon me, with some portions most likely being full-blown rewrites. There's the "Ugg!" factor: the "rewrite." I'm going here with the differentiation popular in writers' circles: a Revision deals with changes that will make the text tighter, cleaner, clearer, but not significantly change the story or any particular section of the script. A Rewrite will involve some major change that may alter the story or some portion of it. The rewrite will usually be more than simply cutting or adding or rewording something. It will usually somehow change the story, often taking it down another path, or at least rerouting the story for some period of the script, even if it comes back to a place it had gone to in the previous draft. I guess the real "Ugg!" factor is that "rewrite" part, since, in all reality, the manuscript has been in perpetual revision since I started it.

    Sunday evening, the 4th, I had the private reading of the third draft. I held it in the boardroom of The Dayton Theatre Guild -- and here's a little piece of somber trivia: literally around the corner and two-tenths of a mile from Ned Pepper's Bar where less than twenty-four hours earlier the well-publicized murder of nine people happened on the street in front of that establishment. But rather than postpone the reading, as I had considered for a little while, I decided to focus on some art, on an artful thing, and to not allow a madman to interrupt or interfere with life anymore than was absolutely necessary.

    I brought in three actors whom I like very much on stage, (in alphabetical order): Jenna De Gruy, Jared Mola, and Mandy Shannon. For a cold read they all did fine jobs. They had copies of the scripts ahead of time, but no rehearsal at all. There were also two others present. Listening was helpful. I had to attend a little more to the script than I wanted to because the person who was to read the stage directions, etc., had a last minute problem that prevented her from being there; so I had to read them.

    This was, of course, a brand new experience for me, hearing other people reading my words out loud, hearing other actors give their voices to characters who've only been given voice by me, internally, up to that point. It is an odd experience. Of course, it's not fair to be too much in the "that's-not-how-to-say-that" camp, since it was a cold read. I await the point when I get to hear actors speak my words after a rehearsal process.


    WHAT!? TECH WEEK'S ALMOST OVER?!?!..... HOW'D THAT HAPPEN?:
    THE MUSICAL COMEDY MURDERS OF 1940 logo.

    Yep, Final Dress is tonight. Tech Week started with a pretty easy Tech Sunday, We had a relatively easy dry tech, followed by a relatively smooth first tech run.

    SOUND DESIGNING ICON
    The sound design for this one has been pretty easy, too. There are a total of 23 sound cues. I do have a few more automatic cues that are fired after a few of those 23 manual cues, but not many. By and large it's a simple sound plot. There are only six production music pieces, all instrumentals. One at the top of Act 1, one out of Act 1, one into Act 2, and then one out of the second act, the curtain music. Then there are two versions of the same song used as music from a radio at various points on the show.

    As is my usual practice, theres about two-hours worth of pre-show music, and about an hour of intermission music, with Show Cue Systems set to randomly play from those collections. So, each 30-minute pre-show and each 15-minute intermission will have its own specific play list.

    SOUND TECH ICON
    I only found out this past Friday that I need to be the sound tech until the second weekend of the run. That our official tech for the show would not be available until then was known early but there was a misstep getting that information to me. It's a bit of a bummer for me; I had plans for the Saturday of Opening Weekend that now I'll have to move to the next weekend, which is unfortunate because that is Labor Day weekend. What I wanted to do is go to the Cincinnati Zoo; that seems like a crowded weekend for a visit. Back on the sound teching, it's me all through Tech Week and all of the first weekend of shows. The good thing is that it's a simple sound plot and our official sound tech will be able to pick it up in a dry tech before the show on that second Friday.

    DTG Promocast Production logo
    The promocast is done and up. I did not seek clearance to use dialogue from the script in this one; I went with selected moments of the physical comedy from the show, and won't be using any dialogue. When I write "selected" I mean just that. There is a lot that I have to deliberately avoid showing so as not to put spoilers in the DV movie. I show none of the jmurders -- if there ARE any -- and there are a few other surprises that we're leaving for the audiences in the theatre.

    Click here for the Musical Comedy Murders of 1940 promocast.


    DAYTON STRONG icon

    I created the image above for The Guild as a response to the murders of nine people on the street, just around the corner from the theatre on August 3rd. The slogan came about after we had what thankfully ended up being a failed KKK rally last May. It failed primarily because of the collective resistance from residence.

    Then, our area was hit with several tornadoes on the eve of Memorial Day. The "DAYTON STRONG" sentiment carried through. Now, the community is still declaring our Dayton Strong attitude after these tragic murders.

    I wrote the following about the murder spree on my facebook page the next day, after I had heard the terrible news. I plan to come back with another little essay on this. I just don't know yet what those words are -- or, at least, what all of them are. Here's what I wrote on August 4, unabridged, not altered in any way:

    I am just dumbfounded and more than a little pissed off. For my facebook friends from around the country whom this will be relevant to, this terrible event happened relatively close to The Human Race and just down the street from my home theatre, the Dayton Theatre Guild, and only about 5 miles from the Dayton Playhouse.

    And I know many, many people, some of them theatre friends, some of them friends from other parts of my life, who frequent the Oregon District, which is where this took place.

    I've seen many of those I know who have had to mark themselves safe because of another one of these insane and absolutely unnecessary mass shootings. The notices have been steadily popping up as I have been composing this. But, today, as I sit here, there's some kind of real chance that when the names of the dead are released, I'll know someone.

    That both saddens me and really pisses me off!

    This is just too goddamn close to home. I always cringe when I read about these, as do so many other Americans. But, this, this is literally my goddamn back yard!

    This evening, I'll actually be right around the corner from where this murder rampage took place, within a short walking distance for christsake!!

    I know I'm not just speaking for myself here. I know these thoughts, this reaction is happening to many people whom I know, some who live right down there, in, or close to, the Oregon District. And I know that every time one of these murder sprees happen, there are thousands who go through what I am right now. And I know there are always those who are so much closer to the tragedy. Who have lost someone to a madman. There are frantic friends and families, right now, in Dayton, gathering to find out if their son, their daughter, their sister, their brother, their husband, wife, lover, their best friend is among the victims. So, I'm not putting myself out there as having some unique right to speak out.

    But goddamnit, I'm angry and I'm sad and like so many people from my little circle of the world, I've just joined a tragic club that is becoming less and less exclusive all the goddamn time, and that is just not acceptable.


    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




    Fri, Aug 23, 2019

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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


    DAYTON STRONG



    Opening Today

    Tickets still available...
    DTG Buy Your Tickets Now
    SOUND TECH ICON
    SOUND DESIGNING ICON
    It was a good final dress rehearsal last night. No sound issues for me as designer or tech. Well..... I did decide to adjust the volume of a couple sound cues, but other than that it was all good. Show opens tonight with me in the booth on the sound board.


    COMING SOON!
    BEEN DOING STUFF
    VACATION: NEW YORK IN MAY Paul McCartney Freshen Up Tour
    FutureFest 2019 at The Dayton PlayHouse. Indianapolis Zoo.
    Yeah, yeah, yeah, so now it's been more than three months since I returned from my little Broadway weekend, and over two months since McCartney in Kentucky. Since then I added FutureFest 2019 and just a couple weeks ago, a spur-of-the-moment road trip west to the Indianapolis Zoo. The schedule was tight when I got home from NYC, and has stayed that way. Like I wrote before, Atticus & Scout Finch, the good folks of Anatevka, The Met, Sir Paul, FF19, and zoo animals, not to mention little side minutia from all these are all on their way...

               ...eventually........





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






    Dayton Theatre Guild
    forthcoming
    AUDITION NOTICES
    of the 2019/2020 season

    DECISION HEIGHT by Meredith Dayna Levy
    ICEBERGS by Alena Smith
    MR. RICKEY CALLS A MEETING by Ed Schmidt



    Decision Height
    by Meredith Dayna Levy
    DECISION HEIGHT by Meredith Dayna Levy

    Audition Dates: Mon & Tue, Aug 26 & 27, 2019*, starting at 7:00 pm both nights.

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

    Directed by David Senatore
    Produced by Kathy Mola

    Production Dates: Oct 11-27, 2019

    Decision Height tells the story of six Women's Air Force Service Pilots (called WASPS) who flew aircraft during World War II. While they didn't see combat, these ladies were responsible for transporting planes and pulling targets for live ammunition training, freeing the men for active duty after the attack on Pearl Harbor. The WASPS proved an important asset for the military, but have been largely forgotten in the history books. This play was the winner of the 2013 Kennedy Center American College Theatre Festival.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are appreciated.
    • Please bring all scheduling conflicts between Aug 28 and Oct 27, 2019.

    NOTE: If you would like to audition but are unavailable Aug 26 or 27, please contact the director at d-senatore@hotmail.com to schedule an alternate time.

    Character breakdowns:
    Character ages range from early 20's to late 40's, and can be of any ethnicity. The goal is to represent the array of women from varying social/economic backgrounds and cultural experiences who were able to bond over their love of flying.
    CHARACTER
          NOTES
    Virginia
          Good natured, empathetic observer who takes strength from her faith

    Edith
          Blunt, quick-witted, hot shot pilot whose hard shell protects a soft center

    Norma Jean
          Strong, confident, leader with a natural grace and Southern charm

    Rosalie
          Soft spoken, self-doubting youngster with big dreams of adventure

    Alice
          The repressed housewife who is able to liberate herself through flying

    Carol
          The energetic optimist who's larger-than-life personality makes up for her short stature

    Mildred
          Brassy girl who likes to generate drama, especially if it means self-gain. She's a woman of few loyalties

    Mrs. Deaton
          The government-employed den mother of the WASPs

    Ziggie
          The female pilot instructor hired to train the recruits. Their safety is her top concern. Hard edged. Tough. A rare woman

    For more information please contact:
    David Senatore at d-senatore@hotmail.com





    Icebergs
    by Alena Smith
    ICEBERGS by Alena Smith

    Audition Dates: Mon & Tue, Oct 14 & 15, 2019*, starting at 7:00 pm both nights.

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

    Directed by Debra Kent
    Produced by K.L.Storer

    Production Dates: Nov 29-Dec 15, 2019

    Welcome to Los Angeles, California, where the weather is always nice, and the future looks bright -- mostly. We visit the trendy Silver Lake hills of L.A. on a warm November evening, on the Day of the Dead. Calder is a promising writer/director, and his wife Abigail is an actor still waiting for her big break. An old school buddy of Calder's visits, as does his agent, and Abigail's friend Molly -- who stops over to read Tarot cards. The evening weighs in on loyalty, principles, climate trauma, carbon footprints, the fear of having children, and the fate of humankind.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are appreciated.
    • Please bring all scheduling conflicts between Oct 16 and Dec 15, 2019.

    NOTE: If you would like to audition but are unavailable Oct 14 or 15, please contact the director at dannkent@aol.com to schedule an alternate time.

    Character breakdowns:
    CHARACTER
          NOTES
    Calder
          35-40-ish*, a filmmaker

    Abigail
          35–40-ish*, Calder's wife, an actor

    Reed
          35-40-ish*, Calder's friend and a paleontologist, African-American

    Molly
          30-45-ish*, Abigail's friend and a fortune-teller

    Nicky
          30-35-ish*, Calder's agent

    *DIRECTOR'S NOTE: I am more interested in whether you can play this age than if you actually are this age.

    For more information please contact:
    Producer K.L.Storer at kl.storer@daytontheatreguild.org
    Director Debra Kent at dannkent@aol.com





    Mr. Rickey Calls a Meeting
    by Ed Schmidt
    MR. RICKEY CALLS A MEETING by Ed Schmidt

    Audition Dates: Mon & Tue, Dec 2 & 3, 2019*, starting at 7:00 pm both nights.

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

    Directed by Rick Flynn
    Produced by Deirdre Root

    Production Dates: Jan 24-Feb 9, 2020

    In a NYC hotel room, in the spring of 1947, Branch Rickey, owner of the Brooklyn Dodgers, meets with four prominent African-Americans to discuss breaking the color barrier in Major League Baseball. He wants support from their community to help with the controversy he knows will ensue. Jackie Robinson, Joe Louis, Paul Robeson, and Bill Robinson, aka Mr. Bojangles, attend the meeting, but it isn't an easy fix. Concern about loss of jobs, as well as suspicion about Branch Rickey's motives come into play. The 2012 revival was nominated for three Jeff Awards for Play Production, Direction, and Ensemble.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are appreciated.
    • Please bring all scheduling conflicts between Dec 4, 2019 and Feb 9, 2020.

    Six men -- 5 African-American, 1 white*:
    Clancy Hope
    Branch Rickey*
    Jackie Robinson
    Joe Louis
    Paul Robeson
    Bill "Bojangles" Robinson
    *specific character breakdowns to be announced

    *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 CURRENT ATTRACTION AT MY HOME THEATRE, THE DAYTON THEATRE GUILD

    Opening #75: the 2019/2020 Season:

    THE MUSICAL COMEDY MURDERS OF 1940, by John Bishop, at The Dayton Theatre Guild.

    Directed by Doug Lloyd
    Produced by Debra Kent

    The creative team responsible for a recent Broadway flop, in which three chorus girls were murdered by the mysterious "Stage Door Slasher," assemble for a backer's audition of their new show at an exclusive Westchester estate. But the infamous "Slasher" reappears and strikes again and again. As the composer, lyricist, actors and director prepare their performance, a blizzard cuts off any possibility of leaving. Bodies start to drop in plain sight, and the bumbling police inspector who snowshoes in to investigate helps solve the mystery in the nick of time and the "Slasher" is ultimately unmasked.

    The Cast of The Musical Comedy Murders of 1940

    CHARACTER
               ACTOR
    Elsa Van GrossenKnueten
          Lynn Vanderpool

    Michael Kelly
          Brad Bishop

    Patrick O'Reilly
          Dave Nickel

    Ken De La Maize
          Jeff Sams

    Helsa Wenzel
          K.A. Mercuri

    Nikki Crandall
          Lolli Mitchell

    Eddie McCuen
          George Merusi

    Marjorie Baverstock
          Jennifer Lockwood

    Roger Hopewell
          Chuck Larkowski

    Bernice Roth
          Melissa Ertsgaard

    The Promocast for The Musical Comedy Murders of 1940

    And following The Musical Comedy Murders of 1940 at the Guild



    DECISION HEIGHT, by Meredith Dayna Levy, at The Dayton Theatre Guild.

    Directed by David Senatore
    Produced by Kathy Mola

    Decision Height tells the story of six Women's Air Force Service Pilots (called WASPS) who flew aircraft during World War II. While they didn't see combat, these ladies were responsible for transporting planes and pulling targets for live ammunition training, freeing the men for active duty after the attack on Pearl Harbor. The WASPS proved an important asset for the military, but have been largely forgotten in the history books. This play was the winner of the 2013 Kennedy Center American College Theatre Festival.

    Audition Dates: Mon & Tue, Tue, Aug 26 & 27, 2019*, 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 Aug 28 and Oct 27, 2019

    NOTE: If you would like to audition but are unavailable Aug 26 or 27, please contact the director at d-senatore@hotmail.com to schedule an alternate time.

    Character breakdowns:
    Character ages range from early 20's to late 40's, and can be of any ethnicity. The goal is to represent the array of women from varying social/economic backgrounds and cultural experiences who were able to bond over their love of flying.
    CHARACTER
               NOTES
    Virginia
          Good natured, empathetic observer who takes strength from her faith

    Edith
          Blunt, quick-witted, hot shot pilot whose hard shell protects a soft center

    Norma Jean
          Strong, confident, leader with a natural grace and Southern charm

    Rosalie
          Soft spoken, self-doubting youngster with big dreams of adventure

    Alice
          The repressed housewife who is able to liberate herself through flying

    Carol
          The energetic optimist who's larger-than-life personality makes up for her short stature

    Mildred
          Brassy girl who likes to generate drama, especially if it means self-gain. She's a woman of few loyalties

    Mrs. Deaton
          The government-employed den mother of the WASPs

    Ziggie
          The female pilot instructor hired to train the recruits. Their safety is her top concern. Hard edged. Tough. A rare woman

    For more information please contact:
    David Senatore at d-senatore@hotmail.com




    Dayton Theatre Guild - TThe Stroeis We Tell - #75 - 2019-20 Season

    the rest of the season....

    ICEBERGS by Alena Smith
    Icebergs
    by Alena Smith

    Welcome to Los Angeles, California, where the weather is always nice, and the future looks bright -- mostly. We visit the trendy Silver Lake hills of L.A. on a warm November evening, on the Day of the Dead. Calder is a promising writer/director, and his wife Abigail is an actor still waiting for her big break. An old school buddy of Calder's visits, as does his agent, and Abigail's friend Molly -- who stops over to read Tarot cards. The evening weighs in on loyalty, principles, climate trauma, carbon footprints, the fear of having children, and the fate of humankind.

    Directed by Debra Kent
    Produced by K.L.Storer

    Show runs Nov 29-Dec 15, 2019

    Auditions will be held Mon & Tue, Oct 14 & 15, 2019*


    MR. RICKEY CALLS A MEETING by Ed Schmidt
    Mr. Rickey Calls a Meeting
    by Ed Schmidt

    In a NYC hotel room, in the spring of 1947, Branch Rickey, owner of the Brooklyn Dodgers, meets with four prominent African-Americans to discuss breaking the color barrier in Major League Baseball. He wants support from their community to help with the controversy he knows will ensue. Jackie Robinson, Joe Louis, Paul Robeson, and Bill Robinson, aka Mr. Bojangles, attend the meeting, but it isn't an easy fix. Concern about loss of jobs, as well as suspicion about Branch Rickey's motives come into play. The 2012 revival was nominated for three Jeff Awards for Play Production, Direction, and Ensemble.

    Directed by Rick Flynn
    Produced by Deirdre Root

    Show runs Jan 24-Feb 9, 2020

    Auditions will be held Mon & Tue, Dec 2 & 3, 2019*


    MORNING'S AT SEVEN by Paul Osborn
    Morning's at Seven
    by Paul Osborn

    This 1939 comedy tells the story of four aging sisters who live in a small mid-western town, and their long-standing sibling rivalries. Three of them -- Ida, Cora and Arry -- have lived next door to each other for fifty years, and Esther, the eldest, lives only a few blocks away. We quickly learn that living so close to one another has taken its toll. Some start to question their lives and decide to make some changes before it's too late. In 1980, Morning's At Seven was nominated for the Tony award for Best Revival of a Play.

    Directed by Kathy Mola
    Produced by Christina Tomazinis

    Show runs Mar 20-Apr 5, 2020

    Auditions will be held Mon & Tue, Jan 27 & 28, 2020*


    THE OLD MAN AND THE OLD MOON by Book/music/lyrics: Pigpen Theatre Co.
    The Old Man and the Old Moon
    Book/music/lyrics: Pigpen Theatre Co.

    The Old Man tends to The Old Moon, refilling the light that spills out every night. When his wife unexpectedly leaves home, The Old Man abandons his post to find her and plunges the world into darkness. His eventful journey across land, air, and sea reminds them—and us—of the unwavering power of love. This is basic storytelling at its best and a lesson about the inevitability of change, reminding us of the magic of folktales that take place in a timeless land far, far away.

    Directed by Jeff Sams
    Produced by Brian Buttrey & Debra Strauss

    Show runs May 29-June 14, 2020

    Auditions will be held Mon & Tue, Mar 23 & 24, 2020*


    *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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