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Almost an hour ago I finished the full script for That's What We're Here For (an american pageant), which opens in 11 days at The Brick in the $ellout Festival, and I'm too tired to bother making those into links right now . . .
65 pages long, feels right. Hopefully it will run an hour-forty-five (or less) including ten minute intermission. Can only run two hours tops for scheduling, but that's too long for this show in any case. Really didn't expect to write a script like this. Thought I was basically creating a dance-theatre piece with intermittent dialogue. Now I have a play with an interesting "revue" framework-structure. Well, it's what it turned out to be meant to be.
Berit and I were supposed to go on a prop/supply run today, but Hooker-kitty had another epileptic fit at 9.15 this morning, so I felt obliged to stay and look after him, Berit wasn't feeling all that great, and I made the smart (and one would think, obvious) decision that finishing the actual script for the show should be my first and foremost priority right now.
So, more individual meetings with cast members tonight. Had two over here to our apartment last night and had a nice time working/talking/making everything much more clear. As I keep saying, I have no worries about the actors here, just everything I have to surround them with. Somehow it will all get done, I'm just worried I'll wind up asking too much of the actors in order to make it happen acceptably. Well, everyone volunteered to put themselves out much more than I was comfortable asking them to last year for World Gone Wrong, and they made it all work. But that may have been simpler . . . not sure about it right now.
So much to do -- CD audio and DVD video editing and mastering, making the slides digitally and having them printed up, another publicity barrage, the program, all the props and set pieces that have to be bought and/or built, let alone staging 6 musical numbers and cleaning up the rest of the staging. Whee. Well, that's what happens from having to take the time to find out what the show you're doing actually is, and you are on an actual deadline to produce something. Well, it means you cut to the chase and don't fuss around too much with what you don't need to (though, to remain barely human, I do have to have a little leeway for humorous wasting of time here and there or the whole furshlugginer thing becomes intolerable).
Plus I have podcast editing to do for Martin Denton at nytheatre.com, and my 4-track, on which I recorded all the material that has to be ponged over to my laptop for digital editing, has just died. Luckily, Frank Cwiklik of the late lamented DMTheatrics theatre company (though not so late that they're not bringing back their live production of Ed Wood's Orgy of the Dead later this month at the Red Room) has offered to loan me his identical 4-track when he's done with it in the next couple of days. So I can then schlep it up to my 20th prep school reunion in Massachusetts with me this weekend and do the audio editing in a free moment or two. Great.
Yeah, at my reunions, all my old classmates, making tons of money in various business fields, express their jealousy of my glamorous bohemian artsy lifestyle. Uh-huh. Yeah. Right.
Jesus fuck a bagpipe. Well, as an old friend of mine, Tom Crowell, used to say on drunken bender evenings back in 1990, 91, 92, whatever, all of us artists and craftsmen gathered at the Cedar on University -- "We are the people other people dream of being."
Yeah, dream this, buddy . . .
Next show . . . one actor, one chair, one lamp, and THAT'S IT!!!
(I've been saying that during the final rehearsal week of every show I directed since the first in 1997, and I haven't managed to stick to that vow yet)
Thank god I think this play is going to be something really really REALLY special, or it wouldn't be worth what I'm going to go through in the next 11 days AT ALL.
65 pages long, feels right. Hopefully it will run an hour-forty-five (or less) including ten minute intermission. Can only run two hours tops for scheduling, but that's too long for this show in any case. Really didn't expect to write a script like this. Thought I was basically creating a dance-theatre piece with intermittent dialogue. Now I have a play with an interesting "revue" framework-structure. Well, it's what it turned out to be meant to be.
Berit and I were supposed to go on a prop/supply run today, but Hooker-kitty had another epileptic fit at 9.15 this morning, so I felt obliged to stay and look after him, Berit wasn't feeling all that great, and I made the smart (and one would think, obvious) decision that finishing the actual script for the show should be my first and foremost priority right now.
So, more individual meetings with cast members tonight. Had two over here to our apartment last night and had a nice time working/talking/making everything much more clear. As I keep saying, I have no worries about the actors here, just everything I have to surround them with. Somehow it will all get done, I'm just worried I'll wind up asking too much of the actors in order to make it happen acceptably. Well, everyone volunteered to put themselves out much more than I was comfortable asking them to last year for World Gone Wrong, and they made it all work. But that may have been simpler . . . not sure about it right now.
So much to do -- CD audio and DVD video editing and mastering, making the slides digitally and having them printed up, another publicity barrage, the program, all the props and set pieces that have to be bought and/or built, let alone staging 6 musical numbers and cleaning up the rest of the staging. Whee. Well, that's what happens from having to take the time to find out what the show you're doing actually is, and you are on an actual deadline to produce something. Well, it means you cut to the chase and don't fuss around too much with what you don't need to (though, to remain barely human, I do have to have a little leeway for humorous wasting of time here and there or the whole furshlugginer thing becomes intolerable).
Plus I have podcast editing to do for Martin Denton at nytheatre.com, and my 4-track, on which I recorded all the material that has to be ponged over to my laptop for digital editing, has just died. Luckily, Frank Cwiklik of the late lamented DMTheatrics theatre company (though not so late that they're not bringing back their live production of Ed Wood's Orgy of the Dead later this month at the Red Room) has offered to loan me his identical 4-track when he's done with it in the next couple of days. So I can then schlep it up to my 20th prep school reunion in Massachusetts with me this weekend and do the audio editing in a free moment or two. Great.
Yeah, at my reunions, all my old classmates, making tons of money in various business fields, express their jealousy of my glamorous bohemian artsy lifestyle. Uh-huh. Yeah. Right.
Jesus fuck a bagpipe. Well, as an old friend of mine, Tom Crowell, used to say on drunken bender evenings back in 1990, 91, 92, whatever, all of us artists and craftsmen gathered at the Cedar on University -- "We are the people other people dream of being."
Yeah, dream this, buddy . . .
Next show . . . one actor, one chair, one lamp, and THAT'S IT!!!
(I've been saying that during the final rehearsal week of every show I directed since the first in 1997, and I haven't managed to stick to that vow yet)
Thank god I think this play is going to be something really really REALLY special, or it wouldn't be worth what I'm going to go through in the next 11 days AT ALL.
