Sunday, January 16, 2011

One last post

Had to wait until I was home with better bandwidth to upload these videos of the band rehearsing on Sat 1/15.

When all is said and done...

There is another successful weekend of 14/48 in the books. Happy audiences. Tired crews. Actors in a haze. Party at Belyea's place, or something like that.

I've enjoyed sharing these days with you all. I still don't feel like any sort of "insider." I doubt I ever will. But I'm happy to have had such wonderful people around me who did their best to make me feel like part of the family. And that, I suppose, is one of the strongest appeals for doing 14/48 for anyone.

Thank you. Thank you all.

Saturday, January 15, 2011

Linda Lu's Final Post

Thanks to everyone for a great day. I can't wait to see the shows in full swing. You're all amazing and inspiring artists.

Now give me a beer!

FINAL company meeting of Winter 2011 14/48

All present and accounted for! HIGH ENERGY fo shurah

8pm was sold out at 10am and the 10:30 is almost full!

Completely completely completely clear out this room after this meeting. Four volunteers needed....and...DONE.

After a man in an orange & red rides off stage on a clown bike, music, black and then AFTER lights come up is curtain call.

Strike: As soon as 10:30 is over, all off stage because load-in for next show is early next AM. Michael Mowery is the gawd of all strike. 10 volunteers raised their hands and mucho thanks.

Props here, costumes there. No, we changed that. Costumes here, props there. Alright, so forget what I just said.

Twice as much furniture backstage as last night, so please stay out of the way.

Clean as you go during party. It took way, way to long last weekend.


and, with that, is that.

Tech Show #7

Show #7 - Larson vs. Whammy by Celene Ramadan
Directed by Annie Lareau


Have we mentioned yet on the blog that the events in this show actually happened? No? Well, they did. Exactly. Pay attention.

Lareau takes a hands-on approach and works with Miranda to set pieces where she wants them while simultaneously working with the band on the game show theme song. Everyone's energy is suddenly pumped and excited. Could it be the light at the end of the tech tunnel?

Contestants take their places and welcome to "Press Your Luck!"

Lareau continues to work with the band on sound cues. A bundle of energy she doesn't sit all through tech but conducts both band and cast through the piece. Sound cues are set and lights are ready so we go back to the top to set levels. Lareau adjusts some blocking to fit lights and releases the band to dinner. Final cue is set and we're off to dinner.

Tech Show #6

Show #6 - Revenge of the Goldfish by Brandon J. Simmons
Directed by Greg Carter

The penultimate tech of the January 14/48!

All set pieces from the previous show are struck and a bus stop comes on. We've been running over a little more each tech and are now 20 minutes behind schedule but everything looks so great that it will all be worth it come tonight.

Tera McDonald and Brian Simmons work the opening blocking while Carter sets some traffic and other environmental sounds with the band. Jump to a cell phone cue and then the final moment and we've actually caught up some time. Well done!

It's the little things that matter

The entire house is excited by an NBC logo. It's the little things that matter. And *that's* one to grow on.

Tech Show #5

Show #5 - Boombas by Elizabeth Heffron
Directed by Brian Faker

Actors entrance taken off the band to nicely time out with the end of their song. Lovely and talented ladies Annette Auger, Alyssa Bostwick and Susanna Burney kick off the run while light levels are sent. Faker changes Keith Dahlgren's entrance to the HR vom.

I now know what the velcro boobs were for.

"We don't say cheating. It's called sexual mismanagement."

Petty cash for a body shave? Oh, no, that's free

Aging beautifully

as in, "don't?"

"That's good, cuz we only got them one." 

A Brian Faker Moment

Megan's breakfast of champions

Hello Kitty

Strollin through designer land

While tech is going on, designers are crankin out the costumes, makeup, props and sets.

"She really is the retirement home slut."
"Oh, that gourg-ois! It really is wonderfully awful."

"Now that's a pile o' money."

one day, she'll go into plastics

It's a boob. There's a whole bunch of them drying in front of the fan.... that the same size nipple? No! Glad I looked."

 Costumes costumes costumes..."the Whammy costumes are gonna be awesome!"

Tech Show #4

Show #4 - Going Postal by Jonah Von Spreecken
Directed by George Mount

Mount's working with the band on finding just the right ominous sound. Evan Mosher's sporting some fine pajamas this evening. Opening blocking gets set along with placement of door frames and mailboxes. There's only 1 door frame and mailbox right now but the designers are on top of it and this cast isn't phased. Oh, wait, another mailbox just showed up. Ben Harris, Evan and Jodi-Paul Wooster are fascinated by it. (It really is quite impressive.)

Mount coordinates an apocalypse with the band. Yes, that's right. An apocalypse.

9 minutes left. The final mailbox and door frame just showed up. Cheers all around. "Look I have a set!" cries Mount.

Final light cue is set and a cue-to-cue is run. That bird calling from the band sure is coming in handy. We're running over time but Mount moves things along as quickly and fluidly as possible. One final special prop shows us. Mount exclaims "It's perfect!" and "Please Mr. Postman" takes us into intermission.

Cooperation by absence

If you want magic, sometimes the best direction is misdirection.

While this may sound like a bit of a pun, it's very appropriate. I'm watching Richard Ziman take a moment out. He sits calmly, thoughtfully in the common room as his two actresses continue to drill each other in the Green Room. The intensity on his face is palpable. I want to talk to him, so I lead with a non-sequitur.

"I'm writing a poem. Give me a word with five letters," I say. Ziman bursts out laughing. Success.

We talk about the process of collaboration and directing in 14/48. "Sometimes the best way to direct is to realize that the actors are perfectly able to solve their problems, and get out of their way" he tells me. "I'll go back in when they need me."

"I've been privileged enough to work with some of the greatest actresses in the country these past two days. Phenomenal." I nod. His luck of drawing nothing but female cast members for his two plays is uncommon, and wasn't even a temptation to the 14/48 gods. He's also had two brilliant plays to work on.

Beyond all the rah-rah-rahness we all have for the stage, there is a legitimate sense that this can be the greatest weekend of an actor's life. Or a director's.

Propers to the directors, Part deux

The contrast between George Mount and Annie Lareau is striking, not only because they have completely different color hair, but also because their approaches to directing are so different. Both of them prefer a strong sense of movement and broad strokes for their subject matter, but where Mr. Mount is relaxed, cool and verbal, Ms. Lareau is filled with nervous energy. She moves around, and demonstrates forcefully and clearly the spatial picture to her actors. She isn't directing traffic, she's creating motion. She's chosen an interesting approach. We'll see.

Back in the Cabaret, Mount's directing of Jonah von Spreecken's "Going Postal" is going smoothly. Even if the stage were on fire, I doubt that anyone would panic, so calm and assured is the director. It's very refreshing. The cast also is fantastic. The final day of a 14/48 weekend is rumored to be taxing and brutal. One would never be able to tell from today.

Tech Show #3

Show #3 - Gertrude and Tonya Watch the Twitter by Matt Smith
Directed by Richard Ziman

Band comes in with "When I'm 64" that recalls the lazy days of summer. Miranda wants to run the transition between pieces along with the music. While light board kinks are being worked out, Miranda calls the transition and the crew goes into action. Projector comes on, gobo comes up and the band perfects their bird calls.

Lisa Viertel and Deniece Bleha make for two lovely old ladies but don't turn your back on them.

15 minutes left. Coordination of cell phone buzzing and projector slide changing. Light level adjustment so slides can be read.

"The Snookie tweet is gone. There's nothing after Morgan Freeman's ass." - Richard Ziman

Set the fight and the final cue sequence and we're out with a little heavy metal.

Tech Show #2

Show #2 - Severance Pay by Wayne Rawley
Directed by Bret Fetzer

First time a Nirvana song's used in 14/48!

Crew makes an easy transition and actors take their places. Trick Danneker's holding Shawn Belyea's hand on a cutting board and Jaime Roberts has a hatchet. Off to a good start.

Lighting levels are set, Bret calls for the final tableau. Experiencing some lighting board issues. Group runs a quick cue to cue with the time left.

Tech Show #1

Stage Manager Miranda's pretty-in-pink as she calls tech to order.

Show #1 - Kittens in a Cage by Kelleen Conway-Blanchard
Directed by Pattie Miles Van Beuzekom

The band comes in with the Perry Mason theme, some provocative poses from Teri Lazzara and Christine Marie Brown and then the actors run through the piece as lighting sets levels. Jill Snyder's working her feminine wiles on Erik Van Beuzekom. Pattie fixes spacing and sightline issues and calls for some extra volume. One more run of the opening sequence with the band and this cast is ready to rock and roll. Doesn't hurt to have a little girl-on-girl action either!


I don't have it in me to post pictures of Teri Lazzara "entertaining the troops." Envision watching a 70's women in prison film, and let your imagination run with that phrase.

Each level of the house has something quite different going on from minor injuries to frontal nudity. Actors hurrying through their lines. Directors pacing. Tech crew wondering if they'll ever get to go home and sleep it off. But today's energy is different. Less tension, more excitement.

It's just as well. Fatigue will come soon enough.

With all due swiftness

Regardless what camera phone owners think, pictures are much slower than words.

I spend a lot more time on photographs than I do on prose. But in the spirit of 14/48 where everything needs to be quick, I decided to set myself some limitations: 1 minute per picture for color/contrast correction. No brush work. No masks. No time.

Here they are.

Saturday 1/15 Director's Meeting

Linda & I have a bet how many "Awesomes" we'll get out of Miranda. Her bet is 12. Mine is 9. I told Miranda when she walked in the room we had a bet, but not what the bet was. On to the meeting...

A five minute buffer has been added for tech for transitions. Not director's time. Only tech's time.

#1 goes quickly and director Pattie leaves quickly to get ready for top of tech.
#2 director Fetzer has a simple straightforward stuff with one critical zero-count out
(Having been made conscience of the "Awesome Bet," the Miranda words are now "wonderful" or "great."
so far, no "awesomes")
#3 projection on scrim, so projector will be coming onstage and need crew to wheel "line learning flesh units" (according to Faker) onto stage.
#4 "My gawd, man," says Miranda. Lot's of props! Phonebooks, Netflix and White Russians. AND food to be thrown, but not actual beer, milk and whiskey.
(that got 3 "wonderfuls")
#5 needs 4 pop cans stacked and rest the bring with them. Lights up/down. Nothing else.  "Do I need to be concerned about peanuts scattered across the stage?"
(1 "great")
#6 Great-wonderful-fantastic. (Miss Miranda is doggin us!)
#7 Annie has tried to write all her cues for the crew and band. Pile of money needs to be in front of the couch. How big is it? It's on wheels. Every theater needs that! Then the gremlins roll it away (laughter).
(Great. AWESOME....She said it!!)

Another only-15-minute meeting. Now that is AWESOME. Good goin' Miranda!!

Pre-director's meeting

Greg Carter's crew just finished a run. Teru McDonald threatened to break Brian Simmons' jaw in 6 places and Jason Marr just gave me a wet willy. Gee thanks.

Final notes before the director's meeting. Greg heads downstairs and the actors break to go over their lines.

What actors do when their director's aren't in the room...Faker's group is lounging in their room running lines and taking their characters to new heights.

The 14/48 gods would be proud.

Going Postal part deux

Back with Going Postal and now Mount's working with just the lovely ladies - Betsy Schwartz and Amy Hill - as the veteran postal worker and the rookie-in-trianing.

Charles Bukowski would be proud.

2:10 Gertrude and Tonya Watch the Twitter

Finally caught up with Matt Smith's play directed by Richard Ziman with Deniece Bleha and Mazen winner Lisa Viertel. Two strong actresses who know how to command the stage and a take-no-prisoners director. The give and take in this room is flowing much like the 14/48 keg.

LV's in a wheelchair, Bleha's got a cane and the showdown begins. They work the beats of a fight and trust each other and the script.

"Oh, Brittany, you crazy whore."

I could stay here all afternoon but let's see if I can catch some more of Going Postal before the 3pm director's meeting.


John Bradshaw cookies...yum!

14/48 then and 14/48 now

This morning while we were waiting for casting call and slowly waking up, I turned to Eric Van Beuzekom and asked what he notices from the old school days of 14/48 and now. He and wife Pattie have participated in over 15 festivals (starting over 10 yrs ago, some years doing both festivals in one year).

"It was a lot less then. Rougher. Like, lighting designer would say, 'You get 3 specials. That's it!' There's a lot more talk about getting sleep; getting rest. We used to party all night. Anyone could be in the band. It's also a platform for being seen, at least that's what I've heard a few people say. It's all still super  good and very fun and shit, for sure. Always a good time, that hasn't changed. "

COMMENT on this post. Tell us your then and now story!

Yes, we got no tweeters

Hey - what's a twitter tweet sound like? Anyone?
There are 12 people in the theater and not one of us tweets.

12:57 Going Postal

George Mount (looking dapper on this 2nd day of 14/48) and cast are running Jonah Von Spreeken's "Going Postal" one more time before lunch and I'm lucky enough to catch the tail end of it. Ben Harris, Evan Mosher and Jodi-Paul work a turn to perfect synchronization.

Mount just called lunch so I'll have to catch a full run this afternoon.

I'm with the band

I walked into the Falls as the band members started to gather. A couple of them had already chatted with their assigned directors, others were just getting in and needed coffee and bagel first. Things heard/said:

"Man, those guys (Beatles) sure could right music!"
"We should do everything acapella. Right? Like, stand there with my guitar, but don't play it."
"OH yea that'd cool to do a totally acapella 14/48! Totally."
"Cake song? (sounding a little surprised). Which one?"
"...should be something from 'Oh Brother Where Art Thou'"
"Nirvana for that, right, like..."
"Goddamn all these (??) lines in the morning."
"You rocked that Heaven song last night. You should do a Youtube." "Yeah, I'd be a virtual millionaire."
"What's that Nirvana song, 2 syllables, from Nevermind..." "In Bloom"
"Dude, his bridges are always minors"
"Do a flat 9 on the 7th chord"
"Use a syn-patch on that part"
"We need some sort of 50s Sinatra song, not a show tune, but something to intro that."

About 30-ish minutes later, they were ready to get rocknrollin...

#1 is a another prison. Only in-out music, no internal. They want the theme to Perry Mason (they pull it up on the computer and start riffing on the theme with a lot of laughter).

#2 Trailer home in Western Wa. Nirvana In Bloom. Discussion how to segue from Perry Mason to Nirvana. Not because it has a drum part, but do the drum thing and sample the riff thing. Whatever, as long as its easy to remember. The main character is Rose, so go out Every Rose Has its Thorns, so go out and Eric nailed it earlier.

#3 Old folks home. In with When I'm 64. Internal cues are tweeting F/X sounds. Something by Cake for the out. Heavy metal instrumental.

#4 No song, but that classical Spring thing (by Prokofiev?). This has birds F/X also. Raptors? And lots of combos of just birds, just Spring, both Spring and birds, etc. with a S F/X for a seizure. How the hell does that sound?

#5 Boombas... boobs and cheatin. They don't have a song or internal request. Maybe Cheatin Heart as exit with a real strong twang.

#6 set at a bus stop so Busstop by the Hollys? Director wants traffic sounds, sirens, dog barks, but all far away. All underlying sounds all throughout. Hey - we've made it play 6 without anyone being murdered!

#7 theme song for in -out  and a winning F/X from game show, spinning wheel of fortune, etc. Director will give a script marked with cues.

Propers to the directors, Part 1

I'm watching Greg Carter direct. He is all business with Brandon Simmons' play. Generally he's a subtle director. His actors are struggling a bit with some of the emotional business in an otherwise absurdist play. He seems to sense they that are on the brink of a revelation but he doesn't want to coax it out of them. He likes to let things happen naturally, and it's probably for the best here.
On my way down the ramp, I'm wondering how I can move quietly enough not to disturb anything, I hear Erik Van Beuzekom burst into a ridiculous nervous laugh. That's my cue. I take up residence in the wings and watch the fray. Pattie Miles Van Beuzekom is trying not to laugh as Teri Lazzara does her best impression of Edward G. Robinson. The actors love her and it's easy to see why. She's relaxed and she trusts their talent. A couple of them are fretting over their pacing. "Relax," she says, "we've got plenty of time." This is not what one generally hears during 14/48. No wonder everyone enjoys the proceedings. They are all instantly at ease.

12:40 Larson vs. Whammy

Just popped in to Annie Lareau's rehearsal of Celene Ramadan's game show extravaganza to hear, "Let's do it again guys. Let's get it in our bodies. Thank you for getting off book so fast."

Dawson Nichols is working the cheesy game show host perfectly. Kate Kraay just walked on stage in a moo-moo. Don Darryl Rivera's absolutely charming and Ben Burris and Shawnmarie Stanton are more than a little creepy.

This one's the final show of the night. It all builds to this and you will not be disappointed. You might even become part of the action!

A great drinking song. That's what they will always say!

By (virgin) Gretta Harley

Cheaters never prosper, that's what they always say
Cheaters never prosper, it's not the righteous way
It all seems so contrary in the Wall Street days
Bankers and executives counting a trillion ways. And our money.
Cheaters never prosper, that's what they always say
That's what they always say.

G-eeee, G-minor, then G-sharp E-major,'s kind a sweet.
G-sharp 1234 G-sharp, C, that what they.. A

12:25 Severance Pay

What makes 14/48 great? Things like Bret Fetzer, Shawn Belyea, Trick Danneker and Jaime Roberts alone in a small room all day deconstructing a Wayne Rawley play about Chicken McNuggets, revenge and a hatchet.

Danger Will Robinson.

Almost, but not quite

Phone rings. Megan Ahiers answers. I watch her eyes roll, then the corners of her lips smile ever so slightly.

"We almost made it through a whole 14/48 without porn."

Peter smiles knowingly. I turn back to my incredibly slow camera transfer. People are expecting lots of things from me. I find it amusing. I am far from a theater insider. I'm not sure I ever wish to be one. But I am a writer, so write I must.

Watching Linda's enthusiasm as she struggles with the labyrinthine corridors of the ACT inspires me. She fits in so well and clearly loves all she sees. I wish I were so bright-eyed. People do like my hat, though, and I've never been lost. These are the important things in life: appearance, belonging and of course extreme navigational skills.

Observations are many. Time is limited. So is reader attention.

Tickets released

The fabulous folks in the ACT box office tell me that there are thirteen tickets just released for tonight's 8 pm show. What are you waiting on?

12:10 Revenge of the Goldfish

Director Greg Carter and cast work through Brandon J. Simmons' script.

Short break to try on costumes. Jason Marr has a plethora of Irish t-shirts in his personal wardrobe. Probably best not to ask why. That done, Carter's up and walking through blocking with his actors and we're back to the play. These three are practically off book already and with lines like, "Revenge of the Goldfish isn't kiddie porn. It won an Obie." there's no wonder why.

11:45 - Boombas

Elizabeth Heffron's "Boombas"

Table read's fast and furious. A couple's therapy session takes a surprising turn when the Latvian mistress is thrown into the mix and director Brian Faker's off and running. Cast is up on their feet and the fun begins.

What do cans of nuts have to do with therapy? You'll just have to come find out.

11:10 - 8pm Sold Out - SRO Tix @ Noon!

This just in...the 8pm tonight is SOLD OUT!

10 Standing Room Only tix will be on sale at NOON at the ACT box office - over the phone ( 292-7676) or in person ONLY.

11:05 - Kittens in a Cage

Kelleen Conway-Blanchard's "Kittens in a Cage" kicks off the night with a sexed-up prison scene complete with 1940s gun-moll dialogue.

"Who can you trust if you can't trust your own Ma?"
"Your best doll."

Director Pattie Miles Van Beuzekom gives direction to Teri Lazzara..."stroke her whole body..."

As Teri would say - ME-OW!

Tonight's theme, in case you missed it

Just to prove it's legit. By the way, where's your ticket?

Deep thoughts from crew

"What is irrelevant and what is interesting are too often the same thing."


Saturday Slate

The Saturday weirdness that has been predicted by most vets, simply because yesterday was a pretty smooth event, has begun:
1) Most of the plays came in at 7 or 8 pgs (6 being the magic number of 10 or less minutes)
2) As play #1 director Pattie Miles VB reached into the Tom Selleck Can to draw her male cast, she quietly and somewhat confusedly stated, "There are no men." Staff starred blankly and realized they'd thrown all the actor names into the Farrah Fawcett Can. Sexless casting was almost the order of the day.

#1 "Kittens in a Cage" by Kelleen Conway-Blancard
Directed by Pattie Miles Van Beuzekom
Eric Van Beuzekom (no shit. "She's got her hooks in you, man!" said Susanna Burney), Terri Lazzara, Jill Snyder, Christine Marie Brown

#2 "Severance Pay" by Wayne Rawley
Directed by Bret Fetzer (BTW...the laughodometer was reset) 
Jamie Roberts, Shawn Belyea, Trick Danneker

#3 "Gertrude and Tonya Watch the Twitter" by Matt Smith Directed 
Directed by Richard "I get no men this weekend" Ziman
Lisa Viertel, Deniece Bleha

#4 "Going Postal" by Jonah Von Spreecken
Directed by George Mount
Jodi-Paul Wooster-Brown, Benjamin Harris, Evan Mosher,  Amy Hill, Betsy Schwartz

#5 "Boombas" by Elizabeth Heffron
Directed by Brian Faker
Keith Dahlgren, Annette Auger, Alyssa Bostwick, Susanna Burney

#6 "Revenge of the Goldfish" by Brandon J. Simmons
Directed by Greg Carter
Teru McDonald, Brian D. Simmons, Jason Marr

#7 "Larson vs. Whammy" by Celene Ramadan
Directed by Annie Lareau
Ben Burris, Dawson Nichols, Don Darryl Rivera, Kate Kraay, Shawnmarie Stanton

10:35 - Designer Chit-Chat

Heard around the designer round table..."we need velcro boobs." You'll just have to come to the show to see which piece. Get your tickets early.


A Virign 14/48 Writer's Writing Schedule, Night 2

11pm: Makes some eggs, watch Thursday's Colbert Report
1130pm: Begin work on tonight's play
12am: Hacking away, writing mostly drivel
1214am: Page 2 complete!
1am: Drink more black tea
130am: Slog away on p. 3
3am: Wake up, try to write, fall back asleep
6am: Wake up, hit snooze
615am: Pull laptop into bed w/ me. Start new play
7am: Finish new play
8am: Send draft to Theatre

I have no idea what I wrote.



Thirty-eight warm bodies

Folks are gathered here. That's an accurate an assessment as is currently possible. Expressions vary from intent to blithe to hazy. Fatigue fueled by coffee. I am not a coffee drinker.

Slowly actors trundle in: not as cattle but to be treated as cattle. The room lacks the smell of an abattoir just yet, though there are murmurs of deodorant. Time is marked only by a clock on the wall no one attends, and the not yet nervous stage crew. After one day, everyone is a veteran.

Me. I'm a free radical. Today I may actually post words. One can never add too much irrelevant text to the blogosphere.

9:15 - The Morning After

Directors are reading scripts, Bret Fetzer's laughing, coffee is flowing and day 2 begins. 45 minutes till actor draw. Stay tuned. What will Cheaters Never Prosper bring???

Show #4 DONE diddly.

2:11 AM. Show 4-Complete! It's called Going Postal. It was fun to write. Hope it's fun to play with tomorrow. If anyone is reading this before coming to 14/48-- the play calls for some of the recognizable Netflix envelopes, brand new phonebooks (for those of you who have a stash of them in your apartment building lobby) and Mailboxes, like real mailboxes. But maybe that's a designer build. I had a blast on night 1. Looking forward to Saturday. Yay bed.


I got a lotta lip for being a writer watching the 10:30 Friday night show. So I'd like to take this opportunity to explain...

I had to miss the 8pm because I am a celebrity impersonator and I was hired to go be Cher and Amy Winehouse for a company party in West Seattle. This is 100% true.

I bolted out of there, half in costume, to see the 10:30 show and I had planned on just seeing my play then leaving and I realized how sad that would make me...not to see the rest of them. So I stayed...and it was awesome and inspiring.

Yes, I am really fucking tired, but this is 14/48. If my play sucks tomorrow, at least I got to fully enjoy the brilliance of this Friday night experience.

Now, if you'll excuse me, I have a play to write.

What do you think I do, blog all night???

Friday, January 14, 2011

Saturday Night Breakdown - Playwrights, Breakdown and Show Order

Show #1
Kelleen Conway-Blanchard
1 Male 3 Females

Show #2
Wayne Rawley
2 Males 1 Female

Show #3
Matt Smith (not the improv guy - the Balagan Guy)
2 Females

Show #4
Jonah Von Spreecken
3 Males 2 Females

Show #5
Elizabeth Heffron
1 Male 3 Females

Show #6
Brandon J. Simmons (he had show #6 friday, too.  Hmmmmmmm.)
2 Male 1 Female

Show #7
Celene Ramadan (who is watching the 10:30pm show right now!  Ah, youth....)
3 Male 2 Females

Writers, feel free to get stuff off your chest while you go.  It helps.  Just ask Wayne Rawley!

Writers get your assignments

Sorry...but I couldn't hear it and liasons are busy. I'll have someone post some time tonight.


Cheater's Never Prosper.


2nd weekend liasons with that sure you bet/no get away tag team effort

See. Omar is posting.

What I can't wait to do

An interview with Annie Lareau

Hello All - welcome to the first 14/48 Winter 2011 Interview. I'm sitting here with Director Annie Lareau and killing Omar.

Me: So. Are you, let's try that again.

Annie: "I'm a born again virgin this time. Acted numerous times, but not directed. The big difference between acting and directing is the letting-go process (laughter). Just sitting and waiting and (laughter) hope to God everything goes OK! As a born-again virgin director, I am very blessed with a Wayne Rawley script and excellent actors, so the 14/48 Gawds are very good to me, have been..."

Me: Cuz tomorrow is another day.

Annie: (laughter)
"My biggest challenge was staging a piece that requires them to be in a small office cubicle on a pretty big stage. And my set is the most complicated!"

Me: What are you going to do for the next 20 minutes.

"And pray."
"And try--desperately--to leave my actors alone."

Cheers...this blogger will join you. Drinking. I'm totally OK with leaving your actors alone.

Friday Company Meeting

#4 slips in just L.....

F-it. A bunch of stuff I just wrote, deleted. Oh, well.

We are filming this performance. Archival purposes at the 10:30 perf.


...and I heard Fetzer trying to stiffle that remarkable--perfectly wonderful--laugh. The laughodometer is busting the barometer.

Who you calling a sell-out?

Sold out at 8 pm tonight. Everyone is excited. And the curtains are nice.

5: 55-ish....The Empty Flock TECH

"Mr. Faker yields 2 minutes to the sixth show."

OK - so band & lights need to run car accident for Kites a few times to get the zero counts down.
Oh, so that's how they'll strike the kite string. Of course.
"Yeah, the band gets to just blow them off....and that better not go in the blog."
Too late ;^)

Run that ending again and this time to Talking Heads "Heaven"

Umbrella skeletons, top hats, black caps and scarves silhouetted against the scrim, cross fading into thunder & rain. An Edward Gorey tableau is on the stage.

Lights are building, so band and cast run entrance again.

Brian goes to the balcony to give his actors a tangible reminder of the audience that will be up there who paid $25, too. Sight line issues are brought up for the HR & L audience and Brian has a double standard regarding those fuckers: "I don't care about those fuckers!"

Look! Shawn & Jodi-Paul & MAVEN Viertel...on stage together.

"Why was he horse riding with bees?" "It reminds me of my late husband."

You thought breaking up is hard to do? Try mourning.

"Complete black? Absolutely. No better time. That way they know 14/48 for today is done."
" Or for 30 min until we reset."
" What? We have to do it again!?"

Yes, we do and will!

OK folks - tech comes to a close at 6:15-ish. Not bad!
SEE YOU TONIGHT! I'm gonna go bug Omar about all those pictures he's been preparing for blog upload.

What Laurie is about to post about

The 14/48 deities are giggling for sure during tech rehearsals. Still, the actors and the musicians are carrying through with aplomb.

5:29 or so....Kites TECH

So, kite string coming in from the balcony, flown by Amy. As she works that out with the "kite," George runs S F/X cues with band.
Cast marks play on stage.
Car honking, wind blowing, overamped guitar slide.
George run light cues, band plays S F/X over and over, cast runs show. Craziest 10 min in Tech so far. Organized craziness, of course.
"I want blinding white light," says George. While they build that, the band takes a little giggle break and keyboard plays through a peaceful few bars that reminds me of a music box.
7 min? Let run it!
Letters and kites and pretty clouds in heaven.

Ceci n'est pas un répétition

5:05 or there abouts...Recall TECH

We are now about a show behind schedule.

Director Ziman is ready and calling shots loud and clear and a bit anxious re: band & crew's  process.

Nice...Bluesy country ballad. Sorry, don't know the name of the tune.

Pretty clouds on scrim, but not working for Ziman. He needs a different voice from the band.

So that's that. Moving on...

Act without words I

and the band played on into intermission

4:38 on the dot...Bridezilla TECH

Transitioning the biggest set of Friday line up to the longest titled show of the line up. This one is one that'll take a couple go's. Daisey chain of cues will create (it is hoped) a domino effect of action. Discussion for band complete understanding.
Opening with Blinding Me With Science (band has not learned their lines...I'm pretty sure blah, blah, blah deep as any ocean, are not the lyrics, even if that is the way most of us sing it).
"OK, I changed my mind, which is to say I was wrong," says SM.
Go back to end of BMWS for lights

And...GAME ON... they got it....nope. Not quite yet. But actors are on stage. Discussion.

Hey...bring up the lights. I need to see what's on the front of Ben's shorts. Is that a crotch star?

So. Kate & Ben dancing on the platform. DD as Japanese puppeteer. Teri with a wedding veil twice as long as she is tall and Dawson's bow tie is simply smashing ;^).

Dancers need music: Timewarp (again. No, really, again. And once again.). No worries, says band. We'll probably nail it.

And out with the Justice Dance of Love.

Laconic and late

No wry commentary. No impressionistic observations. No first person pronouns.

And then...