collisionwork (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
collisionwork) wrote2007-06-14 01:12 pm
collisionwork) wrote2007-06-14 01:12 pm
Entry tags:
And . . . Now What . . ?
Okay, so Ian W. Hill's Hamlet is open. Still have to work it, make it better, be more ready. Sure.
But then what?
Well, the big thing is figuring out what I'll be doing in The Brick in August, as the primary slot (and possibly others) are all mine. I had a list of shows I wanted to bring back - my two originals, World Gone Wrong and That's What We're Here For, The Mind King by Richard Foreman, which I did as a solo piece, The Hobo Got Too High by Marc Spitz, and the three Chekhov shorts, Sad Clowns On Velvet. So I emailed the 25 actors involved in these shows.
Thus far, 14 responses. It looks like World Gone Wrong will come back as the "main" show - ten members of the original cast of 21 are up for it thus far (including me), and I think I'll have at least four more - if I don't get at least 2/3rds of the original cast, I'm not sure about going ahead with it. Four of them definitely can't do it, but I can deal with that. I'm pretty sure another one can't as well, though he hasn't responded, as he's getting married.
That's What We're Here For will have to wait, though it really needs to come back. Both Berit and one of the cast members have made the point that it deserves a lot more work and going over before opening again, more than we could do before August. Also, I wouldn't have a good number of the original cast members I wrote it for, and that would be harder to deal with here than on other shows.
I will have to get ahold of Marc Spitz to see if he'll let me do Hobo again. I don't think he's very fond of that play, and he may not want it shown again. I hope he lets me do it. It's funny as hell and a good crowd-pleaser, and I want more people to see it.
The Chekhov will have to wait - Peter Brown and I would be up for doing it again, but we need a third actor. I'm not in touch with the original third actor anymore, and the one I wanted to take over for him is unavailable.
Mind King is a hard one for me, but I could probably get it up and running again. I'd like to have it always ready to go, in any case. Good to have a simple 45-minute solo piece standing by at all times.
So, maybe I'll also consider bringing back the other completed parts of the NECROPOLIS series thus far: #3: At the Mountains of Slumberland (after H.P. Lovecraft and Winsor McCay), and #0: Kiss Me, Succubus (after Jess Franco, Radley Metzger, Jean Rollin, et al.).
Those would be a bit of a pain, but there's something attractive about having the four completed NECROPOLIS collage-plays going on at the same time (those two with #1&2: World Gone Wrong/Worth Gun Willed (after film noir)).
Then I could start thinking about a smaller way to do #4: Green River (after road pictures and long-form music videos). As written, Green River would require a giant stage with a fly system. Not gonna happen anytime soon, so, how to scale it down? Also, I'd have to rethink it for new actors, as it was dream-envisioned to star Yuri Lowenthal (now in L.A.) and Jennifer Clark (now out of acting). Actually, Matt Gray and Dina Rivera might work well in it, and it'd be nice to have a real couple as the onstage couple (the female part needs a trained dancer, too). Anyway, that's a while off no matter what.
Okay, back to Hamlet. Gotta do some work - tonight we're going into The Brick after the last show to prepare things better for the quick changeover between shows so we don't start late again (Tuesday was terrible that way - we had a crucial part of the set delivered to us, several days late already, by UPS at 7.05 pm for an 8.30 curtain, then had to rush to the theatre, getting stuck in bad traffic, and put the whole furshlugginer mess together as fast as we could, which wasn't fast enough, really).
But first, I have to go get better cleaning supplies to clean up the blood we leave behind the show (we haven't had proper cleanser, sponges, or brushes at the space), then go soak in a tub and run my lines again and again and again.
Tomorrow looks to be a big night for Ian W. Hill's Hamlet, housewise, and especially for friends and family of yours truly. I have the feeling it'll look like Joe Gideon's final number in All That Jazz for me out there, though hopefully without the same ending. I'm feeling oddly confident and calm and expectant now, but I'd better give myself some good reason to feel thus.
But then what?
Well, the big thing is figuring out what I'll be doing in The Brick in August, as the primary slot (and possibly others) are all mine. I had a list of shows I wanted to bring back - my two originals, World Gone Wrong and That's What We're Here For, The Mind King by Richard Foreman, which I did as a solo piece, The Hobo Got Too High by Marc Spitz, and the three Chekhov shorts, Sad Clowns On Velvet. So I emailed the 25 actors involved in these shows.
Thus far, 14 responses. It looks like World Gone Wrong will come back as the "main" show - ten members of the original cast of 21 are up for it thus far (including me), and I think I'll have at least four more - if I don't get at least 2/3rds of the original cast, I'm not sure about going ahead with it. Four of them definitely can't do it, but I can deal with that. I'm pretty sure another one can't as well, though he hasn't responded, as he's getting married.
That's What We're Here For will have to wait, though it really needs to come back. Both Berit and one of the cast members have made the point that it deserves a lot more work and going over before opening again, more than we could do before August. Also, I wouldn't have a good number of the original cast members I wrote it for, and that would be harder to deal with here than on other shows.
I will have to get ahold of Marc Spitz to see if he'll let me do Hobo again. I don't think he's very fond of that play, and he may not want it shown again. I hope he lets me do it. It's funny as hell and a good crowd-pleaser, and I want more people to see it.
The Chekhov will have to wait - Peter Brown and I would be up for doing it again, but we need a third actor. I'm not in touch with the original third actor anymore, and the one I wanted to take over for him is unavailable.
Mind King is a hard one for me, but I could probably get it up and running again. I'd like to have it always ready to go, in any case. Good to have a simple 45-minute solo piece standing by at all times.
So, maybe I'll also consider bringing back the other completed parts of the NECROPOLIS series thus far: #3: At the Mountains of Slumberland (after H.P. Lovecraft and Winsor McCay), and #0: Kiss Me, Succubus (after Jess Franco, Radley Metzger, Jean Rollin, et al.).
Those would be a bit of a pain, but there's something attractive about having the four completed NECROPOLIS collage-plays going on at the same time (those two with #1&2: World Gone Wrong/Worth Gun Willed (after film noir)).
Then I could start thinking about a smaller way to do #4: Green River (after road pictures and long-form music videos). As written, Green River would require a giant stage with a fly system. Not gonna happen anytime soon, so, how to scale it down? Also, I'd have to rethink it for new actors, as it was dream-envisioned to star Yuri Lowenthal (now in L.A.) and Jennifer Clark (now out of acting). Actually, Matt Gray and Dina Rivera might work well in it, and it'd be nice to have a real couple as the onstage couple (the female part needs a trained dancer, too). Anyway, that's a while off no matter what.
Okay, back to Hamlet. Gotta do some work - tonight we're going into The Brick after the last show to prepare things better for the quick changeover between shows so we don't start late again (Tuesday was terrible that way - we had a crucial part of the set delivered to us, several days late already, by UPS at 7.05 pm for an 8.30 curtain, then had to rush to the theatre, getting stuck in bad traffic, and put the whole furshlugginer mess together as fast as we could, which wasn't fast enough, really).
But first, I have to go get better cleaning supplies to clean up the blood we leave behind the show (we haven't had proper cleanser, sponges, or brushes at the space), then go soak in a tub and run my lines again and again and again.
Tomorrow looks to be a big night for Ian W. Hill's Hamlet, housewise, and especially for friends and family of yours truly. I have the feeling it'll look like Joe Gideon's final number in All That Jazz for me out there, though hopefully without the same ending. I'm feeling oddly confident and calm and expectant now, but I'd better give myself some good reason to feel thus.