Second weekends are difficult.
There's an emotional/physical/mental high you reach as an actor during the first weekend, especially on opening night. You've spent weeks (in our case) months putting together something to be really proud of and you believe, well maybe hope is a better word, you hope that other people will enjoy. The energy in the room on opening night cannot be compared to any other feeling. Nervousness spreads through the cast like wildfire whereas excitement runs rampant through an opening night audience. Everyone feels it. And if they don't when they arrive at the theatre they do by the time they leave. It's catching.
So.
Second weekends are a bit of let down, usually in audience size and energy. Despite audience size being relatively small, I do think the cast of c.1993 gave a solid weekend of performances. I will admit, I felt a bit of a let down after the high energy of the first weekend. And then I remembered, here's where the skill sets in. The job of the actor is to keep the energy, quality, devotion at 100% no matter what. I thank this amazing cast for helping me to do that.
On a completely different note, I'm excited to have free time again. I need to get back into writing. It (and time) has gotten away from me. But somehow I don't feel entirely complete when I'm not writing.
(Have you seen c.1993 yet? Whether you like it or not, spread the word. Haven't see it? It would mean so much to me if you did.)
HAPPY HALLOWEEN.
10.30.2011
10.20.2011
I'm so happy...
I'm so happy
'Cause today I found my friends.
They're in my head.
I'm so ugly
but that's okay 'cause so are you.
And with those words from Nirvana, we head into opening weekend of c. 1993 (you never step in the same river twice). YES. The show is opening. It's already mentioned in the Stranger and in Seattlest. Want to come? (The answer is "Of course.") The info can be found on this lovely poster:
And if that's not enough, here's a photo for your (sneak-peek) viewing pleasure:
Okay, okay. One more:
Support local theatre, it supports you.
'Cause today I found my friends.
They're in my head.
I'm so ugly
but that's okay 'cause so are you.
And with those words from Nirvana, we head into opening weekend of c. 1993 (you never step in the same river twice). YES. The show is opening. It's already mentioned in the Stranger and in Seattlest. Want to come? (The answer is "Of course.") The info can be found on this lovely poster:
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| Poster by Ian Johnston |
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| Photo by Ian Johnston |
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| Photo by Ian Johnston |
10.08.2011
Relief
(Wow. Three posts in one day. Don't worry. That'll probably never happen again.)
I just got a call from my cast. It sounds like they are really enjoying the show. That makes me feel ever so slightly better about my work.
An overnight festival is a sort of stress I've never really felt before. I would totally do it again.
I just got a call from my cast. It sounds like they are really enjoying the show. That makes me feel ever so slightly better about my work.
An overnight festival is a sort of stress I've never really felt before. I would totally do it again.
Script Sent!
I did it! I finished the script. It took me three full rewrites and watching a 3-hour Julie Andrews movie (Star! - watch it.) to get something on paper I felt like I could send off. Turns out I didn't really need all those snacks I bought. I was too busy concentrating.
Something I learned from this experience (yes, already): it's good to take time with your inspiration. This time around my inspiration was a little factoid about one the actors in my cast. She is a big Julie Andrews fan. For whatever reason, that sparked my interest tonight. And that's why I spent so long watching a movie I hadn't seen before, instead of rehashing one I had seen before. I wanted a glimpse further into the head of my actor and the head of Julie Andrews. And because of both of those explorations, I got the best glimpse into my character's head.
Another thing I learned: breaks are good. Time away from the script always makes the time with the script that much better and more productive. And showers are good for waking up the mind and body.
I'm really unsure of how the script turned out. But it was an experiment. I did the best I could in the time I had. That's what is really important, right?
Now to sleep (it's 5:00a.m.) and then off to Tacoma tomorrow evening to see the show. I have such a hard time watching my work but that's a blog post for a different day.
Something I learned from this experience (yes, already): it's good to take time with your inspiration. This time around my inspiration was a little factoid about one the actors in my cast. She is a big Julie Andrews fan. For whatever reason, that sparked my interest tonight. And that's why I spent so long watching a movie I hadn't seen before, instead of rehashing one I had seen before. I wanted a glimpse further into the head of my actor and the head of Julie Andrews. And because of both of those explorations, I got the best glimpse into my character's head.
Another thing I learned: breaks are good. Time away from the script always makes the time with the script that much better and more productive. And showers are good for waking up the mind and body.
I'm really unsure of how the script turned out. But it was an experiment. I did the best I could in the time I had. That's what is really important, right?
Now to sleep (it's 5:00a.m.) and then off to Tacoma tomorrow evening to see the show. I have such a hard time watching my work but that's a blog post for a different day.
10.07.2011
Double Shot
I shouldn't be doing this. I should not be taking time away from my twelve hours to write a ten-minute play to pen a blog. But surprise, surprise. I am.
I am currently writing for the Double Shot Festival which will take place in Tacoma over the next two days. Our prompt was sent to us barely 45 minutes ago. I took the time to brew a pot of coffee, set up a pad of paper, and create a new playlist. By all accounts I'm ready to do this.
Now.
To hope for real inspiration. To look at pictures, listen to music, put some T.V. on in the background and hope that lightning will strike me.
I might go through more than one pot of coffee.
I'm excited. I've never purposely written a script in such a short amount of time. I have been on the acting end of this, but quick writing side is new territory for me.
I'll update in the morning. Because I'm sure I'll make it to sunrise.
I am currently writing for the Double Shot Festival which will take place in Tacoma over the next two days. Our prompt was sent to us barely 45 minutes ago. I took the time to brew a pot of coffee, set up a pad of paper, and create a new playlist. By all accounts I'm ready to do this.
Now.
To hope for real inspiration. To look at pictures, listen to music, put some T.V. on in the background and hope that lightning will strike me.
I might go through more than one pot of coffee.
I'm excited. I've never purposely written a script in such a short amount of time. I have been on the acting end of this, but quick writing side is new territory for me.
I'll update in the morning. Because I'm sure I'll make it to sunrise.
10.01.2011
Stepping in Rivers
My own writing has really taken a backseat these days. I'm not actually complaining as I have been filling my time rehearsing for a show. What show you ask? This show: c. 1993 (you never step in the same river twice). It's a collaboratively created theatrical event ("show" is not exactly the right word) that will include ballroom dancing to a boy-band song, Sleepless in Seattle told through word balloons, and a Nirvana mash-up to name a few things.
In many ways, I feel like I was built to be a theatre cross-trainer (a term I lovingly stole from a professor of mine). I've never wanted to be just an actor or just a playwright. In fact, I think as theatre artists, we do more harm to ourselves than good when we try and label ourselves like that. Devising gave me a good opportunity to use all of my skills, some I didn't know I have. And I've been trained by (what I think are) some of the best. Now, having been a part of roughly five collaboratively created theatre pieces in the last four years, I am no stranger to this sort of work. All of those experiences have provided me with the opportunity to develop my skills so usually when I walk into something like this I feel incredibly prepared.
With c.1993, I must admit, I feel a little out of my league. Being a show of entirely found texts, a lot of singing, and a moderate amount of dancing, I'm flexing muscles I haven't flexed in a long time...if ever. Because of that, I am valuing my experience in this show a lot. I guess I had gotten kind of cocky when it comes to devising. I figured since I had done so much of it, anything would be cake. What I seemed to have forgotten was that for every different theatre artist there is a different way to approach devising. I had been devising with roughly the same group of people for a long time. A group of people I grew to love, understand, and collaborate with very well. Of course there had been some conflict; you don't create theatre without conflict. In the end the product was usually something I could be very proud of.
It was time to step out of my comfort zone. It was time to be introduced into a new way of doing collaborative work. It was time to get to know a whole new group of people with a different style of working. And I didn't even know it.
This show is going to be awesome I think. I love the cast/crew and we're working together pretty well. It's definitely going to be an interesting experience for our audiences.
So.
See it.
In many ways, I feel like I was built to be a theatre cross-trainer (a term I lovingly stole from a professor of mine). I've never wanted to be just an actor or just a playwright. In fact, I think as theatre artists, we do more harm to ourselves than good when we try and label ourselves like that. Devising gave me a good opportunity to use all of my skills, some I didn't know I have. And I've been trained by (what I think are) some of the best. Now, having been a part of roughly five collaboratively created theatre pieces in the last four years, I am no stranger to this sort of work. All of those experiences have provided me with the opportunity to develop my skills so usually when I walk into something like this I feel incredibly prepared.
With c.1993, I must admit, I feel a little out of my league. Being a show of entirely found texts, a lot of singing, and a moderate amount of dancing, I'm flexing muscles I haven't flexed in a long time...if ever. Because of that, I am valuing my experience in this show a lot. I guess I had gotten kind of cocky when it comes to devising. I figured since I had done so much of it, anything would be cake. What I seemed to have forgotten was that for every different theatre artist there is a different way to approach devising. I had been devising with roughly the same group of people for a long time. A group of people I grew to love, understand, and collaborate with very well. Of course there had been some conflict; you don't create theatre without conflict. In the end the product was usually something I could be very proud of.
It was time to step out of my comfort zone. It was time to be introduced into a new way of doing collaborative work. It was time to get to know a whole new group of people with a different style of working. And I didn't even know it.
This show is going to be awesome I think. I love the cast/crew and we're working together pretty well. It's definitely going to be an interesting experience for our audiences.
So.
See it.
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