collisionwork: (boring)
2009-06-19 01:31 pm

My Life in the Gush of Boasts

Well, here it is, later June, and the August shows are under way, and I'm back to casting bits of them, as always.

Besides the two dancers for George Bataille's Bathrobe that I've been trying to cast for a while (or rather, HAVE cast twice and then had to recast), I now have three other parts in two plays where actors have had to leave for more lucrative jobs that have come up. So here I am, trying to write this entry in between sending out emails setting up audition times to around 30 actresses that have been recommended to me by trusted friends and collaborators (and a few that came from a public posting of my email to friends that got out by accident, but it's okay).

I understand, of course, people having to leave my shows for better-paying gigs . . . I can't pay more than transportation for rehearsals and performances, plus promise a split of profits, if any (there are NEVER any - only three of my sixty shows have shown even around $100 profit at most - I ALWAYS lose money on them). And sometimes I'm slow on paying back the transportation (I still owe over half the performers from 2008's shows their money -- the unexpected huge costume expenditure on Ambersons ate up over half the year's planned budget).

Still, it's frustrating to feel like a "safety school," that my work is the work you do until something bigger comes along. It is, after all, my work, and it IS what I do first and foremost. I can't begrudge people who leave for a job with a salary, or an Equity Card, or more exposure, but I can feel hurt anyway.

And, of course, it's hard to cast this year's shows in any case -- the Foreman is fairly abstract and hard to make out on the page what the hell it is, the Fassbinder is all wonky and doesn't read well either, no one's seen David's & my script (now called Sacrificial Offerings), but I'm sure that will simply confuse people as well, and Little Piece has such graphic descriptions of serial killings and deaths by radiation that some people are just too disgusted by it to want to do it. Great.

Well, 30 women and a man have got notices from me about the 4 shows, I have two auditions set up already, and time put aside all next week. Hope I get what I'm looking for. Well, I always do, or close to it . . .

Anyway, back in the iPod, here's today's Friday Random Ten tracks from out of the 25,596 on there (with more actual links to YouTube versions of the songs than usual!):

1. "Saturday Night, Stay At Home" - Suburban Reptiles - Saturday Night, Stay At Home 7"
2. "Glad I've Got Nobody" - David Bowie - Early On (1964-1966)
3. "Sole Spento" - Caterina Casselli - Rato's Nostalgia Collection 9
4. "You Better Get a Better" - The Beatstalkers - Decca Originals: The Freakbeat Scene (1964-1968)
5. "Do You Love Me?" - The Sonics - !!!Here Are The Sonics!!!
6. "Bible School" - Delinquents - The Master Tape
7. "What If?" - Bongwater - The Power Of Pussy
8. "Single Girl, Married Girl" - The Carter Family - Anthology Of American Folk Music, Vol. 3A: Songs
9. "Stranded In Time" - The United States Of America - The American Metaphysical Circus
10. "Ocean" - Sebadoh - Single (remix)

And now it's 35 people who've gotten the notices, and 5 auditions are arranged for Sunday/Monday. Back to more emails out . . .

collisionwork: (Default)
2009-06-13 09:20 am

I Got The Music In Me

So, didn't make it back to a computer yesterday to do the regular Friday things . . . it was longer getting out of The Brick than planned, as the company teching made a little error with the curtains at the rear of the stage (they're paging them up to the grid for their show and throwing dustcovers over all the backstage items, which looks very cool) and accidentally disconnected them, which meant an hour of me supervising them in rehanging them properly -- it actually takes at least that long to hang the curtains correctly so they hang evenly mask what they're supposed to. So I didn't leave the theatre until 3 pm, 2 hours later than scheduled.

But whatever, it got done, and I think the new curtain hang is better on two out of the three points I judge it on, so better all around. Then last night I went off as mentioned and saw Edward Einhorn's Doctors Jane & Alexander at Theater Three.

Originally here I wrote several paragraphs worth of critique of my friend Edward's show (and by critique I mean critique), but I've decided to wait on publishing them until after the play closes tomorrow.

Suffice to say, I have been involved in one way or another with this play that Edward wrote (and assembled from found text) about his mother and grandfather since 2005, I'm a member of the artistic board of his company, I've been through many drafts and readings of this text, have very strong feelings about the piece, and my opinions, while not suspect, may be very personal in ways that wouldn't matter a jot to non-involved audience members (they certainly weren't to Martin Denton in the review linked above), so I should keep my trap shut until it's over.

I will note that the cast is excellent. Jason Liebman is a perfect stage-version of Edward -- it's been my pleasure to direct Jason, and whenever I watch him in anything I always wonder why he isn't a star yet. I mean, I work with and know many MANY brilliant actors, but when I watch Jason he just has that quality that makes you wonder, "Why doesn't he have a sitcom or a movie or something like that yet?" You just LIKE him and like watching him. He's a sweet, comfortable actor to watch and listen to.

And, of course, Alyssa Simon, who I first cast in the part in the short version in 2006, IS Jane, and brilliant at it. Alyssa came up to me after the show last night and asked me if I had still seen some of the work we first did on Jane together, as it was certainly there, and I was touched, as I could still see some of my work there, but she and Edward took that work much farther and deeper than she and I had been able to do in the short version (I think her voice and cadences still owe something to me, her eyes, posture and general physicality are hers and Edward's fully).

It still plays today at 6 pm and tomorrow at 1 pm. As for now . . . further, deponent sayeth not.

Not a lot of available links for this week's songs . . . too many too obscure (and one of the bigger ones not there probably due to copyright claims). But here's a Random Ten that just came up from the 25,596 currently in the iPod . . .

1. "Dog" - Sly & The Family Stone - A Whole New Thing
2. "King Of The Mountain" - Proclamation - Oceanic Odyssey Volume 12
3. "Sweeney Todd, The Barber" - Stanley Holloway - Cannibals-A-Go-Go!
4. "I Shall Be Free No.10" - Bob Dylan - Another Side Of Bob Dylan
5. "Walk It Down" - Talking Heads - Little Creatures
6. "Who Cares?" - C.I.A. - God, Guts, Guns EP
7. "Every Wednesday Night At Eight" - The Innocents - One Way Love 7"
8. "Crazy Little Thing (live 1974)" - Captain Beefheart & The Magic Band - 04/22/74 Cowtown Ballroom - Kansas City
9. "Come On Mary" - The Abandoned - Back From The Grave 3
10. "The Imposter" - Elvis Costello & The Attractions - Get Happy!!

Okay, time to pull it together, get the day's chores done so I can go off and enjoy the annual McKleinfeld/Cino bash for those of us with June birthdays. And about time.

collisionwork: (sleep)
2009-06-12 01:35 pm

Forward and Back, Forward and Back

Well, here I am at The Brick again, crammed in the humid dressing room while a show in The Antidepressant Festival techs in the space. They were supposed to stop about a half-hour ago, but as the theatre is free until 6.00 pm, and I have no other real plans for the rest of the afternoon, apart from going home and getting some more rest before seeing Doctors Jane & Alexander tonight in The Festival of Jewish Theater and Ideas at Theater Three, and the group here could use the time to get this show teched right, I feel I should stay here and let them keep working.

This year's Festival is, as far as all of here can see, a rather fine fine superfine group of shows, and I feel especially responsible to go an extra mile over the usual extra miles to make every single show shine like a polished jewel, if I can.

(this show is, as I now write, at an HOUR past scheduled time however, and I'm beginning to get a tad antsy, as it doesn't sound all that close to wrapping up . . . {sigh})

As for the shows I designed light for, Infectious Opportunity was altogether quite excellent, and ...and the fear cracked open (which I'm also running the board for) was pretty, sweet and painful. I haven't yet been able to see a final performance of Adventure Quest or The Tale of the Good Whistleblower of Chaillot's Caucasian Mother and Her Other Children of a Lesser Marriage Chalk Circle yet, but will get to them next week.

People are enjoying the shows, and thus far we're doing good with the reviews at nytheatre.com, which has 5 positive reviews for the 5 shows reviewed thus far (and I'm REALLY looking forward to seeing the well-reviewed Samuel & Alisdair: A Personal History of the Robot War -- I was here for most of their tech, and what I saw and heard there completely blew me away).

Otherwise, yesterday I participated in a test runthru of Suspicious Package: RX, which went fairly well (some tech problems to be sorted out; the reason for the test run), then I participated in a reading of a new, crazy play by Marc Spitz going up at The Kraine sometime soon (a lot of fun - I showed up thinking I'd be reading a small part, and was given a much larger and funnier one as an actor didn't show up - I think I did okay, though I can't really do a Russian accent all that well). And last night we rehearsed Blood on the Cat's Neck with some efficiency and productiveness, though I have now lost two actresses from the cast to better-paying gigs, another couldn't show up due to work, and another was sick, so the four actors I had left and I did what we could, which was enough.

I was going to go on up to New England tomorrow for a family gathering, but it's been called off, so instead a kinda get my first full day off in a while, which I'll spend going to the big yearly Daniel McKleinfeld/Maggie Cino birthday bash for those of us with June birthdays. I intend to kick back, drink and eat heartily, and play a lot of Rock Band.

Then I have nine hours of rehearsing two different shows on Sunday.

As for now, they're clearing out of the theatre, and I have to be sure everything's going back in place correctly. I'll have to do the Random Ten from home later, too, as I have no player of any kind here. Back in a while . . .

collisionwork: (mystery man)
2009-06-05 08:55 am

Is Everybody Happy?

Well, tonight, The Brick's Antidepressant Festival opens. Hooray!

I've been at the space for many, MANY hours every day since Monday working to get the space and some of the shows together for yer dining and dancing pleasure. I'm very tired, but fairly satisfied at this point. We're just about completely ready for everything. Except that I have to have the space's five stage cubes (the ones Berit and I built for Magnificent Ambersons) painted black by tomorrow, and I have no idea when I can get this done. I'll be booking over there shortly to see if I can do it while techs and other prep are going on.

The space got put back together in great shape by a crew of Bricklayers (the theatre's helpers) on Monday night. Tuesday night we teched Theatre Askew's The Tale of the Good Whistleblower of Chaillot's Caucasian Mother and Her Other Children of a Lesser Marriage Chalk Circle, which went well, though, as expected, a bit late. My lights look pretty good. I was a bit unhappy briefly by being asked to do some particularly ugly things (the framing device of the show is played in massive bright flat front light, ugh), but they actually wound up looking "correct" when contrasted with the more parodic body of the show -- and I enjoy getting to do "parody" lights ("Okay, now do a bad version of Mother Courage . . . okay now do some bad musical theatre lighting . . .").

Wednesday, there was a bright-n-early morning tech for Afternoon Playland's 2012: A New Dawn -- I didn't design that one, but I was there to supervise and all looked good.

Then I spent most of the day pre-programming cues for the evening's tech, Adventure Quest, which is both a simple and hard show to light. Simple in that the actual looks are pretty basic and easy to make look good. Hard in that there are projections going through the whole show, and we'd like to wash them out from being visible on the actors' bodies (given our space and where we have to have the projector), and doing that sometimes means pumping the lights up to a level where they stop looking good. I think I wound up splitting the difference okay (I still have to go in and fix some of the cues to make them work right).

Adventure Quest went really really long, especially for me as I'd gotten less than four hours sleep the previous two nights and had been at the space since 9 am. After the cue-to-cue, there was a run, which didn't get started until a bit later than planned, and I wound up sleeping through most of it. Well, my lights looked okay in the cue-to-cue, they should be fine. Got home sometime after 2 am.

Yesterday, Michael Gardner supervised Matt Freeman's Glee Club during the day, then I came in and pre-programmed again, this time for that evening's tech of Infectious Opportunity from Nosedive. It was a fast, well-organized evening -- they came in and did a rehearsal of the many complex set changes while I showed my cues to Pete, the director, and he passed them or worked with me to fix them, then they did a cue-to-cue and we were out by midnight.

Well, except I discovered I'd left the car's lights on when I arrived that afternoon and my battery was dead. Luckily, AAA had someone there really fast, and I got home in time to get a hair more sleep than I had been this week.

So I'm extremely happy with the shows I'm seeing, and pretty happy with my own lights for them. There are bits of Whistleblower and Adventure Quest where I may wince a little, but I did the best that I think could be done there with the space, the equipment, and a Festival house plot. The Nosedive show looks maybe a little better than that, and they were much appreciative (the first two shows really REQUIRED me to go all out and be wonderful just to make the lights work on any basic level; Infectious could have gotten by with much simpler work, but I think I gave them more than they imagined, and they seemed very grateful).

So, what do I see all around in the Antidepressant Festival? Comedies and "feel-good" shows that don't really feel all that good. Bitter, nasty, angry, and very VERY funny comedies masquerading as palliatives. Please come and enjoy.

Today, I have our main iPod again instead of Berit, as it might be needed for music at the party after the Opening Night Cabaret, so I'm able to listen to a Random Ten from the 25,596 tracks on this one . . .

1. "Until Yesterday" - JC Chasez - download
2. "Firing Squad" - Subhumans - Firing Squad 7"
3. "Jagged Time Lapse (BBC version)" - John's Children - Smashed Blocked
4. "Computer Date" - Suburban Lawns - Suburban Lawns
5. "I Bet You They Won't Play This Song On The Radio" - Monty Python - The Final Rip Off
6. "Coconut" - Harry Nilsson - Nilsson Schmilsson
7. "Sweet Dreams" - Steve Harley & Cockney Rebel - The Psychomodo
8. "In A Hurry" - Shawn Lee's Ping Pong Orchestra - Ubiquity Studio Sessions Vol.3—Strings & Things
9. "Don't Eat Stuff Off The Sidewalk" - The Cramps - Psychedelic Jungle
10. "Weird Cornfields" - David Thomas & The Pale Orchestra - Mirror Man - Act 1: Jack & The General

In the midst of all this tension, exhaustion, and craziness, sometimes you need to relax. I relax with YouTube . . .

Here's a two-minute clip from an art installation in L.A. that looped several short sections of Star Trek: The Wrath of Khan just before and after William Shatner let loose with his classic yell of . . . well, you know (I think the full piece ran 15 hours). Meditating on everything going on in the Shatman's face in these short sections can be very relaxing . . .


Also relaxing . . . baby tiger cubs . . .


And for humor relaxation, here's one o' them "Literal Music Video" memes sweeping the internets. Everyone's posting the new "Total Eclipse of the Heart" one (which IS pretty funny), and there's no loger a good copy of the original "Take On Me" one (still my favorite), so here's a lesser-seen one, as done by The Fab Four. or not quite:


Okay, now I'm back off to the theatre to paint some boxes black. Ah, art!

collisionwork: (Default)
2009-05-29 10:03 am

I'm Tired

The work goes on.

Last two nights we rehearsed the Richard Foreman play, George Bataille's Bathrobe at The Brick, and it was nice to stage the thing in the actual space. We had only a trio of actors (out of eight total) for most of Wednesday - one showed up later - and five yesterday, with, again, one showing up towards the end, so we did some scene work that we could do with the people we had and got some solid work accomplished.

Everyone says the play becomes clearer and makes more sense as we work it. I know it makes sense of a kind, but it's a kind of dream sense, and I don't always know what it is until we're on our feet and doing it (if then). One longish scene - Scene Nine - received a lot of work on both nights, and by the end of last night had come together enough to make it clear the whole thing was going to work just fine.

But we need to keep hacking away at it bit by bit. What makes Foreman work is getting all the little details and multiple possibilities of all the lines all going at once. We don't touch this show again until June 7, when I should have the entire cast together for a rehearsal, finally.

I rehearse the other two shows already in progress (as opposed to the still-being-scripted BBQ) the next two afternoons, then also don't touch them for a week. In between, I'll be too busy getting The Brick set up for The Antidepressant Festival and doing the light design for four of the shows in that Festival: Nosedive's Infectious Opportunity, Ten Directions' ...and the fear cracked open, Sneaky Snake Productions' Adventure Quest, and Theatre Askew's The Tale of the Good Whistleblower of Chaillot's Caucasian Mother and Her Other Children of a Lesser Marriage Chalk Circle (phew!).

And FIRST, tonight, I go and help babysit a benefit going on at the space, with a break in the middle to join my old friend Sean Rockoff in seeing X at the Bowery Ballroom. I'm really happy to be seeing one of my favorite bands for the first time, but kind of tired and weary and wondering how I can bounce around and enjoy the fine fine superfine rock of Exene, John Doe, Billy, & D.J. in this state.

I'm sure it'll all be fine when the music starts . . .

Meanwhile, back in the iTunes (Berit has the iPod today - she's working the UTC#61 festival from 9 am to midnight or so), here's a Random Ten out of 71,285 tracks (so I've added 228 tracks since last week, huh?) . . .

1. "Juliano the Bull" - Jason Crest - Circus Days Vol. 4 & 5
2. "Read It & Weep (live 1975)" - Rocket From The Tombs - The Day the Earth Met the Rocket from the Tombs
3. "I'll Never Let You Go" - Steff - U-Spaces: Way Out Wonders vol. 1
4. "Love Me Like I Love You" - Me & Dem Guys - Quagmire 3
5. "Longarm" - Wall Of Voodoo - The Index Masters
6. "Yo-Yo" - Pylon - Chomp
7. "Modern Things" - Voice Farm - Sleep / Modern Things 7"
8. "The Bride Stripped Bare By 'Bachelors'" - The Bonzo Dog Band - Keynsham
9. "Country Kisses" - Sheb Wooley - Country Boogies, Wild & Wooley!
10. "Segue 5" - The New Power Generation - GoldNigga

Again, no new cat pictures this week.

But meanwhile, in the Cool News of the World -- as someone who's not the world's biggest Obama fan (he's okay, but I'm still fairly to the left of the man and his policies - and believe that those calling him and those policies "Socialist" are insulting Socialists - but I recognize he may be as good as we're gonna get in that office in my lifetime - may be), I am at least quite pleased by the Obamas' choices for new art to display around the White House, as discussed in a Wall Street Journal article HERE.

The only work of art I was aware of being on display there was Frederic Remington's The Bronco Buster (1903), and I got the impression that the style of art otherwise on display there had not advanced very much from that time and style. I didn't know that Hilary Clinton had been personally passionate about acquiring an O'Keeffe and a Henry Ossawa Tanner (whose work I'm not familiar with) for the permanent collection while there -- every administration displays works on loan from various sources, museums, whatever; some works are acquired, under stricter policies -- usually works older than 25 years, from dead artists, so as to not unduly effect the market rates, though the Bushes accepted a donation from Andrew Wyeth. Also, Jackie Kennedy pulled out some Cezannes from the permanent collection there, and Laura Bush had a Helen Frankenthaler on loan for the private residence. But these have been exceptions to the mainly middle-of-the-road work on display at the White House.

I had heard the Obamas had put out a call for more works by minority and female artists, fine, okay, the Dead White Male club could always use some shaking up (and I speak as a fan, primarily, of Dead White Males), but they've gotten a good share of work for display in the White House, some of which surprised and pleased me. There's a Johns, a Diebenkorn, an Albers, a Ruscha, a Rauschenberg, a Nevelson, a de Staël, two bronzes by Degas, and two pieces by Alma Woodsey Thomas, which fulfill both the "female" and "minority" calls while also being abstracts. Currently being looked at for possible inclusion is a set from the Art Institute of Chicago (where the first couple went on an early date) that includes works by Franz Kline and Beauford Delaney.

It's not a big thing, I guess, but it makes me happy to know that the home of the First Family has in this way finally entered the 20th Century.

As for videos . . .

Just because I dig it, here's a video recently linked to on Facebook by Kim Morgan which she described (accurately) as an "Ike and Tina meet David Lynch meet Guy Maddin clip of brilliance." It's a lip-synced performance of beauty that almost doesn't make me think this song is overrated in Phil Spector's oeuvre (it's muddy and overdriven - a Wall of Sludge rather than a Wall of Sound - and sounds better over computer speakers than on record).

Among the Ikettes on this occasion is Ms. P.P. Arnold, who I'm a fan of (and I didn't know she was an Ikette). Two clips of her being wonderful on England's Beat Club can be found HERE and HERE.


What, not more redubbings of the Hitler/Downfall scene? Yup. Here he has some strong feelings about J.J. Abrams' Star Trek reboot (h/t [livejournal.com profile] flyswatter):


And here, a meta-commentary version created by Brad Templeton of the Electronic Frontier Foundation (who describes in detail the efforts he went to in being sure his version of this meme was 100% legal in an interesting post HERE), in which Hitler finds out the limits of copyright protection:



And, hey, courtesy of Tom X. Chao, here's a recent photo of myself and Berit, from Gyda Arber's Memorial Day backyard BBQ (Berit is wearing a spare hat of Gyda's to keep herself from sunburn, a problem that seems to have almost vanished for me entirely - though I have a permanent "trucker's tan" on my left arm).

We actually look pretty relaxed, huh? A combo of mead, champagne, cider, Mike's Hard Lime, and (in my case) a some big hunks o' meat will do that to you . . .
at Gyda's - Memorial Day BBQ, 2009

Now to take a nap in prep for a LONG weekend of action . . .

collisionwork: (Great Director)
2009-05-27 01:05 pm

By Fits and Starts

Well, things move forward on the four August shows.

A Little Piece of the Sun is about three-quarters blocked. I should finish that this coming Saturday. Going fairly smoothly. Once the blocking is done, onward to working the details. Luckily, the show gets tighter and simpler as it goes, so the rest should be a snap. Ha. Ha.

Still a depressing show, but beautiful.

Meanwhile, George Bataille's Bathrobe is still casting a part, and not the part I was last casting. One actress has dropped out, getting a gig somewhere else that actually pays more than travel, but Justin R.G. Holcomb, so much fun to work with on The Magnificent Ambersons, has come in to play the Doctor, as we'd all hoped he be able to. So, I'm auditioning people in the next few days for the last dancer/actress role, Annabelle (one of "The Famous Brundi Twins!").

The show is completely blocked now, at least. In the big moves, anyway - there are dances and other physical work to be choreographed. Tonight I only have three of the company available to me, so I'll do some scene work with them.

Blood on the Cat's Neck moves a little slower in some ways, as the blocking is more difficult and specific to get down right away. The play is in one room in three parts: One actress (Gyda Arber, as Phoebe Zeitgeist) starts the play onstage (from preshow), then one by one, the other nine actors enter, each one having a monologue (some have two in this first section), but all remaining onstage after their first appearance. In the second section, it is as though a party is going on in the room, but we have individual scenes as all the characters except Phoebe have 2-person scenes with each other, but everyone keeps moving around the whole time (and setting themselves up for their own scenes), and it has to be carefully worked out.

Next time, we'll get to the third section, where everyone is interacting at the party the whole time. I may have to work that out with a chessboard or something in advance. Fun show, but the onstage logistics make my head hurt sometimes -- I strive for combining efficiency, clarity, beauty, and a sense of inevitability in my blocking, and I often have trouble getting more than two of those at a time with this.

I've transcribed the improvised performance David Finkelstein and I created and videotaped, and have been working out the script for that as the remaining theatre piece I'm doing in August. The working title is still BBQ, but that really doesn't fit the show now, so I need to find some other title (preferably from the text) to call the thing.

It's become clear as well that I need to show the video piece that David is making of out the same original footage in the middle (or rather, three-quarters of the way through) my theatre version, as my piece is now about a group of people at a fancy-dress party who attend a seance of a kind, but there's a space in the text where the "appearance of the spirits" needs to happen. So I'll make David's video act as the "spirits" in my stage piece. Now that I have the characters set, I need to see who wants to act in this -- it's a short piece, really (the script is six pages long!), but it will involve some work, and being able to do all nine performances, including sitting onstage and watching David's video with fascination each time.

Now it's also on to the next press releases, postcards, and other publicity as I try to sell these mostly downbeat shows. Nobody liked - rightly, I guess - the idea of calling it The Bummer Festival (you can't sell a "bummer"), but I have no better name just yet. I'm back to using lots of bare light bulbs in my designs these days . . . maybe something like Bare Bulbs? Nah.

Oh, and as far as design goes, an anonymous donor has gifted The Brick with computer-controlled irises for our moving I-Cue units! We can now not only move those lights, we can open and close the size of the beam! This has been on my wish list for the space for years, but we could never afford it. Now, we have them. I'll be setting them up next Monday/Tuesday, so I'll have them for the four shows I'm designing in The Antidepressant Festival (and everyone else will have them as well, of course).

Some lovely gatherings this past Memorial Day weekend -- seeing my father and stepmother on Sunday (I made people jealous later mentioning the mojitos and homemade cardamom ice cream, yum) and then a barbeque at Gyda's prior to Blood rehearsal on Monday. With the heat (sometimes) and the humidity (ditto), it all became a dreamy slide of sensation that achieved that equal balance of very enjoyable and very very tiring. Still recovering a bit from that.

Gyda's finished the trailer for this year's installment of the smash hit interactive theatre experience from last year's Brick Summer Festival, Suspicious Package: Rx. I'm pleased to be prominently featured in it (though not pleased by the feature of my prominent gut - yes, I'm dieting and exercising as I undergo PT for the nerve problem in my leg), and Berit's hands actually make a cameo appearance at the end of the trailer.

Here's Gyda's trailer, which is a good leadin to the whole piece -- I've seen just about all the footage, I think, and this should be a doozy . . .


And for sheer cuteness' sake, here's a pygmy jerboa . . .



collisionwork: (Big Gun)
2009-05-22 01:15 pm
Entry tags:

Loathing (Just Loathing, no Fear) in Southern Brooklyn

Goddamn DOG!

Okay, so the next door neighbors have a very loud dog that runs up and down their apartment. It doesn't really bug us. Whatever. We're easygoing here. After all, the apartment on the other side of us has "Angry Baby," a child with the amazing ability to scream and cry at the top of its lungs all day and night long WITHOUT CEASE (the child has hit toddlerdom now, and words are beginning to appear in the midst of the screaming; I saw her once briefly when I went to get a package accidentally delivered to them by mistake, and the child had the TENSEST and most SUSPICIOUS face I've seen on any human under 12).

Again, Angry Baby, like Big Damn Dog, is more an item of bemusement than annoyance (I swear the kid has somehow naturally learned circular breathing). The sounds of Angry Baby and Big Damn Dog come through the walls quite clearly, so we just remark on it when they're being particularly boisterous. A shriek will start up, and either Berit or I will say to the other, "Angry Baby is angry," and we're prepared for anywhere from 30 minutes to several hours of non-stop shrieks. Then we'll hear the sounds of mad, racing feet running up and down the mirror image apartment on the other side of the wall, and something crashing off a table, and occasionally a human voice screaming, and we know that Big Damn Dog is on the move again.

However.

While working here at the computer a while ago, with my back to the living room window -- open so that I can enjoy the lovely weather, a cool breeze, and the smell of mown grass; screened so that the kitties don't escape -- there was a GODAWFUL loud noise that caused me to jump and spin - as I saw the cats running frantically away from the window (they had been resting on the sill) - and find the snarling muzzle of Big Damn Dog sticking THROUGH a nice new hole in the middle of my screen, trying to get to the felines! I shooed the foul beast away, with much waving of hands, and, realizing I now had a cat-sized hole in the screen, slid the window down so my sweet things couldn't go leaping out -- being cliched little cats, they had already run BACK to the window, even though they were obviously terrified (Moni was shaking and making little crying vocal sounds), to continue to watch the nasty noisy thing trying to get in.

You see, there is a "patio" area outside my (and the neighbor's) first-floor apartments. It's actually the roof of the building's parking garage, but all of us on it have doorways out to it, and we were somewhat sold on the apartment by having a "patio." Of course, we now have gotten messages from the management company (my old bosses) telling us that this area is, in fact, off limits and we can't use our doors, and all the nice little plantings and barbeque areas and so forth that people had created out there had to be removed, immediately (we had to get rid of some outdoor chairs and a table we had, but it really wasn't a great loss, as it turned out no get a little windy and dusty to go out there for breakfast, as I had hoped).

Still, Berit goes out there to paint props or when using some kind of adhesive or solvent that shouldn't be used in an enclosed area (to my latent-huffer disappointment), and some others let their dogs out there, not to crap (thankfully), but to exercise. This includes Big Damn Dog, who I (and the cats) have seen on one or two other occasions. Today appears to have been the first time he noticed the cats, and it flipped him out.

So I dealt with the slobbering pea-brained mastiff while simultaneously trying to calm down a cat that was both terrified and fascinated by what was terrifying her and trying to get closer to it while wailing piteously. Great.

I got the window closed (at least enough that the cats can't get out) in the middle of this, and the cats began to lose interest as the dog went running off elsewhere for a bit, but it kept coming back to the window and sniffing around, looking for the felines. It's a big, cute dog, to be sure. I prefer cats, but there are some dogs I like, and big, dopey-looking ones with big sad friendly eyes are up there, so I was a little taken with it for a moment.

Then I remembered what it had done and looked again at the hole it left in the screen and I took the squirt bottle of water we use to discipline the cats and gave the big fucker a good shot in the nostril, and it went loping away, not to return.

(and I thought that anything I wrote today would NOT be influenced at all by the fact that I just reread Hunter S. Thompson's The Great Shark Hunt and Fear and Loathing in Las Vegas and am again partway through Fear and Loathing: On the Campaign Trail '72 -- no, I'm back in the Raoul Duke mindset; I used to occasionally go to costume parties as Thompson/Duke, and the character comes back easily . . . selah . . .)

Now the damn monster is back indoors, and in between writing bits of this I'm doing loads of laundry, so every time I cross from my apartment door to the elevator to the basement, the hound hears me and begins barking and clawing at the front door of the other apartment, causing me to shit myself EVERY time I pass by, even when I know it's coming.

Flashback to childhood, at least ages 6 to 15 -- there was this tiny little connecting branch between the parallel-running Field Road (where I lived) and Valleywood Road (where my grandparents lived) in Cos Cob, CT, and I would often walk it to go see my grandparents or uncles if, for some reason, I couldn't go across Mrs. Hyland's yard (her backyard abutted ours, and her front faced my grandparents'). There was a house on this little road with a big-sounding, mean-sounding dog that seemed to live in the garage, with the garage door being kept open just low enough so that the thing couldn't get out, but it could bark at anything that passed, and scrape madly at the driveway and the door. I never saw anything more than a paw or two for all those years I walked that little, creepily-shaded road, but almost every single time I walked by, that DAMN DOG would find a way to start barking madly at JUST the right time to make me jump out of my skin. I hated that dog, and still do, and I never even got a look at the thing. I tried to figure out ways to get it to bark on cue, so it wouldn't startle me -- throwing pebbles ahead of me, stomping hard on the ground, whatever -- but they never worked consistently enough.

So now I have the same thing happening to me as a 40-year-old, walking across a Brooklyn lobby to do my laundry. I'm tempted to go over to the door and bark and snarl back at the thing until I confuse it enough to shut up, but I'm afraid one of the owners appears to be home, and I don't want them opening the door to find out what madman is trying to outsnarl their mangy mutt.

(oddly, I'm only concerned about what these damned owners might think -- the other people on the floor - the parents of Angry Baby, the nice new young couple that smiles at us all the time, the two other couples that look at Berit and I with an odd suspicion - I don't care what they might think of me barking and snarling in the lobby)

Of course, I have to be careful in any case because I can't be 100% certain that the dog that came by was the Big Damn Dog from next door. It could have been someone else in the building (or one of the three connected ones). I could be blaming the wrong people and the wrong dog here.

Just like I can't be sure the owners of Big Damn Dog are the ones that fog up the lobby with pot smoke from their apartment all the time, but I'm pretty sure they are. Again, not that B & I would mind the pot smoke, whatever, fine, but for eight years now we've been putting up with it being the foulest, SKUNKIEST damn pot smoke in the universe creeping out, and occasionally into our own home. I mean, really! The damned lobby, at least once a week, smells like when a semi runs over a whole family of the little smelly bastards on some remote Maine road. Damn.

Of course, on one occasion, there was a (justified) complaint that our catbox odors had made it to the lobby, when we let things get a hair ripe and were using a litter that just wasn't cutting it for a brief time. I was quite embarrassed and have been VERY MUCH on top of that since, but now I just feel that if it comes up again I may think about casually bringing up Angry Baby, Big Damn Dog, or Skunky Weed to the respective neighbors and seeing what response I get.

Meanwhile, Berit is off at Theater 3, working on the Festival of Jewish Theater and Ideas all day and night today, so she gets to have the iPod, which means that the Friday Random Ten has to come from the overloaded and bloated iTunes library itself. Yikes. Here's what comes up from the 71,057 tracks I have in there today . . .

1. "Love Is Fire" - The Parachute Club - Poptronica Romance
2. "Amor" - Ben E. King - Atlantic Rhythm & Blues vol 5 1961-1965
3. "I Got Love If You Want It" - Slim Harpo - Hip Shakin'
4. "Have You Met My Pet Pig?" - The West Coast Pop Art Experimental Band - Where's My Daddy?
5. "Two More Days" - Little Eddie Mint - New York Notables
6. "Song Of The Healer" - The Sallyangie - Children Of The Sun
7. "The Sneak" - The Towers - Las Vegas Grind! - Volume 6
8. "Security" - Thane Russal & Three - Club Au-Go-Go 11
9. "Dirty Love" - Mandre - Mandre
10. "Shop Around" - The Miracles - Hitsville U.S.A., The Motown Singles Collection 1959-1971

No new cat photos today, either (the charger has been misplaced again), so instead, four videos of recent note.

First, a (dubbed) word from FDR to a grateful nation . . .


Meanwhile, on the other side of the war, Adolf Hitler is having his own problems (as interpreted by Rick Crom, who I had the pleasure of working with years ago at the York Theater Company on Merrily We Roll Along):


And, considering that (as I've mentioned before, with shock and loathing) they're now planning movies based on fucking BOARD GAMES such as Battleship and the like, is the following any more ridiculous?


Finally, a LEGO and musical adaptation of a modern classic . . .


Tonight, I'm off to finally see Nosemaker's Apprentice at The Brick, which I hear is damned great. It's gotten me up and out tonight, at least. And having to run soon, so no updates on the shows right now, though I certainly have some. Maybe tomorrow.

Enjoy the long lovely weekend, folks.

collisionwork: (tired)
2009-05-15 07:22 am

Under Way and Over the Problems

Oh, the joys of insomnia induced by a combo of nervous active cats, being unable to achieve a acceptable temperature, and half a mind that decides to start racing while the other half is trying desperately to enter torpor.

But I am up, and it is time for updates and thoughts.

All three shows are under way, rehearsal-wise. All primarily blocking right now -- nuts 'n' bolts work, starting, as I do, from the point of the physical structure of the piece, the big strokes, and moving inward with more detail. As long as I get where people move right, most of the rest falls into place just fine.

Two rehearsals (post first-readings) thus far for A Little Piece of the Sun, and one each for George Bataille's Bathrobe and Blood on the Cat's Neck (I also just got 100% confirmation yesterday on the rights to the latter two, in emails from Mr. Foreman and the people who handle Fassbinder in the U.S. of A -- that's a relief, though now I need to be sure I have the money ready to pay for the Fassbinder rights by the due date in a month; time to send out the donation request email to my list . . .). Going well, with some frustrations, as to be expected.

Oddly, Little Piece, with the cast of 14, is the one where I can generally get most of the cast at every rehearsal. With the others . . . well, it's a struggle.

Little Piece has been a surprisingly fun rehearsal process despite being one of the most magnificently depressing shows in theatrical history (personally, by the end, I find it a HOPEFUL work, as I believe Daniel, the writer, does, but we seem to be in the VAST minority on that one). Maybe it's the unremittingly unpleasant subject matter of genocides, nuclear accidents, and serial killing that causes me to be a little lighter, breezier, and more on my toes and trying to make sure everyone is having a good time working on the play than usual. There are lots o' jokes 'n' laffs on this one from me and the cast, many of them at the expense of the horrible subject matter. Perhaps it's to avoid crying or screaming.

There was still a slight chill last night as we ended rehearsal with the staging of Andrei Chikatilo's first, horrifying, murder and violation, that of nine-year-old Lena Zakotnova. A mix of clinical and messy. A recent re-reading of From Hell was more inspirational than I had figured. Ick.

Foreman's George Bataille's Bathrobe has a great cast I wish I could get all together at one time (actually, I'm still waiting for one person I'd like to do it to confirm he can), but that'll have to wait for a while. One blocking rehearsal that was a good start, and, as always when I'm doing Foreman plays, immediately started clarifying everything, and all kinds of new, interesting ideas came up that will make Berit's and my lives harder as we now have to make or acquire more and more oddball props.

Unfortunately, I had fewer people than I had expected for the first rehearsal of Fassbinder's Blood on the Cat's Neck, and it was almost silly to work on the blocking (though it was nice working outdoors in Gyda Arber's back garden on a pleasant Spring night), but it wound up being a good start that will come in handy, and then the half of the cast I had and I retired to Ms. Arber's living room to watch Bunuel's The Exterminating Angel, which has been inspirational for me in thinking about the play. If we have another night like that, or a rain date, we'll go on to the Bunuel-influenced Merchant-Ivory film Savages, written by Michael O'Donoghue and George W.S. Trow. The Fassbinder will be a more problematic play in a few ways -- it's made up of lost of interesting bits that don't have a major dramatic pull forward until very late in the play, which is somewhat broken up into three main sections: a series of monologues, a series of two-person scenes, and finally a full-cast scene. The middle section is rather long compared to the other two, and weighs down the two ends quite a lot. I'll have to use a fine hand and some directorial magic to make the whole thing feel like one solid work moving forward, and not overburdened in the center. Some serious sprightliness needs to go on there.

And here's this week's Random Ten from the rapidly being-cleaned iPod that now has 25,598 tracks in it . . .

1. "Ban Deodorant (Skydiving)" - unknown - Psychedelic Promos & Radio Spots, vol. 7
2. "Suzie Q" - Creedence Clearwater Revival - Suzie Q
3. "Winners and Losers" - Iggy Pop - Blah Blah Blah
4. "Professor Nutbutter's House Of Treats" - Primus - Tales From The Punchbowl
5. "Blue Train" - Cibo Matto - Stereo Type A
6. "Ginny In The Mirror" - Del Shannon - Hats Off To Larry
7. "When I Was Cruel No.2" - Elvis Costello - When I Was Cruel
8. "Do The Residue" - Kontakt Mikrofoon Orkest - CherryStones: Word
9. "Doctor Wu" - The Minutemen - mix disk - Daniel
10. "Woman's Gone" - Brainbox - Nederbeat The B-Sides 4

I have no new cat photos, so here's two old favorites from a night when a combo of flash and ambient lighting caused some strange distortions I havebn't been able to replicate . . .

Moni in a Flash (distortion 2)

Hooker in a Flash

I miss the days of truly awkward and odd promo films for songs (pre-"music videos"). Here's one (I suspect it's an actual Scopitone by the style) for The Tornados (of "Telstar" fame) doing "Robot," a Joe Meek production:


And here's a 1967 Italian cover of "Hold On, I'm Coming." Any ideas WHY this setting? Scarecrows?


I love how bored and unenthused Italian pop stars always seem to be in the clips I see . . . what, are they going through with this so they can wear nice shoes or something, and they're far too cool to bother actually performing?

Hey, it's a day off. Now what?

collisionwork: (welcome)
2009-05-10 08:08 pm

So Hold Me Mom . . .

Happy Mother's Day . . .



collisionwork: (star trek)
2009-05-08 11:06 pm

Sudden Fastness Makes a Surprise

Good lord, it's 11 pm and I didn't do the weekly blog post I always do, come hell or high water (or other occasions where I've forgotten or was too busy)?

Busy week, busier day. Every time I think I have casting, or rehearsal schedules, or rehearsal spaces, all lined up in a row and ready, something comes along to kick them all over.

I'm seeing a few people in the next few days for the last remaining parts, so that's okay. As for rehearsal space . . . I'm still working on that. I have it for much of the time I need, but not most. A few emails to make tomorrow on that . . .

We had the first rehearsal of A Little Piece of the Sun on Tuesday, which was just blocking, which isn't really a "just" on this complicated show with lots of bodies moving around (and I didn't have all the bodies around either so I could keep track of them). We got through a quarter of Act I, which wasn't bad, and we should go faster next time. The cast pays attention and works quick, which will be essential to get this big mother of a nasty documentary play done.

Sunday we read Foreman's George Bataille's Bathrobe with most of the company for the first time. We're still missing three cast members, which should be solved in the next few days, so at the reading Becky Byers, Maggie Cino, and Bryan Enk showed up and helped out by reading the missing parts. Sounded good and became a lot clearer to the actors -- it's somewhat of an abstract script if you're not inside my head, but hearing it aloud and discussing it made the company "get" where it's going, I think. The cast we have will be terrific. Now to get the last three members.

And before that, we read Fassbinder's Blood on the Cat's Neck with most of the cast over in Gyda Arber's garden on a hot sunny day, and everyone but me seems to have gotten a sunburn (Berit missed bits of her arms with the sunscreen and wound up with some VERY unusual patterns of burn there). And THAT cast was dead-on perfect from moment one.

So . . .

. . . in many ways I'm in great shape for the August shows. Except that once again it's becoming impossible to get all the members of any cast in one room at one time (no matter how early I cast everybody, in this group they're going to want up doing other shows in June, or even July, and their availability goes out the window), and each of these shows has large sections that NEED to be rehearsed with the full cast or they're impossible to work (and Bathrobe is ENTIRELY like that). But it can't happen, it seems, so once again I have to work around it as best I can -- a skill I have by now, but don't enjoy the employing of to the slightest degree . . .

For relaxation, I keep futzing around with my iPod in the continuing, silly, pointless, obsessive attempt to make it the ABSOLUTE BEST 80GB iPod in the civilized world, cutting things and adding others, updating old versions of tracks as I find better digitized versions of them, or as I did recently, replacing most of The Beatles' released catalog as it exists now with the original mono mixes (which are better). Also, discovering that an iTunes upgrade a couple of months ago rejiggered my settings so all new tracks I put in were being sampled at a higher bitrate than I require for digital use (and thus taking up WAY too much disk space), so I had to spend time going back and redoing those tracks properly (and freeing up 10GB of disk space in the process).

This means that sometimes playing with my iPod as a "relaxing break" from the play work backfires and I just get intensely focused and irritated that I can't "fix" things on the iPod as fast as I'd like (since I have to listen to at least three sections of EVERY track that I don't know so well - or at all - that has wound up on there so I can decide if I want to keep it).

Here's what comes up as a bedtime Random Ten from the 25,645 tracks in the little bugger right now . . .

1. "Something's Gotta Give" - Pere Ubu - The Tenement Year
2. "Innocence" - Kirsty MacColl - Galore
3. "Colossal Youth" - Young Marble Giants - Colossal Youth
4. "The Mercy Seat" - Johnny Cash - American III: Solitary Man
5. "I'm So Glad" - Screamin' Jay Hawkins - The Night and Day of Screamin' Jay Hawkins
6. "I Enjoy Being a Boy (In Love With You)" - Linus of Hollywood - Right to Chews: Bubblegum Classics Revisited
7. "I Got a Bag of My Own" - James Brown - Star Time
8. "Hey Joe" - Patti Smith - No Thanks! The 70s Punk Rebellion
9. "Carry Me Home" - AC/DC - Dog Eat Dog b/w Carry Me Home 7"
10. "Delitto al Ristorante Cinese" - Detto Mariano - Poliziotteschi Graffiti

Berit's going away to visit her family for a few days, and I'd love to go with her, but I have too much work to do here -- besides the work on my own shows I'm doing some more work with David Finkelstein and helping Tom X. Chao out with something for an upcoming show of his. Berit and I also spent a fun but tiring LONG day last week helping Gyda Arber shoot her sequel to last year's interactive hit Suspicious Package, which will be in The Antidepressant Festival at The Brick in June.

Oh, right, and we had a great benefit party at Galapagos! Well, I don't know if the "benefit" part was a success (not my department of The Brick), but the "party" part was great. Photos of the big event can be seen HERE (and Berit can be seen in a couple of shots - I appear in NONE of them, which may be for the best, as I became a kinda scary hobo whenever someone paid attention). It was a helluva bash!

(I had a unfortunate end to the evening when one of the three bottles of mead, brewed by actor/friend Heath Kelts, that I won in the raffle - which I had REALLY REALLY wanted - was lifted from my bag, and I was a little angry and sharp at the end of the evening, but got over it -- and I wound up getting a replacement bottle form someone this week, which was good . . . I'm still pissed about the original theft, though . . .)

And I don't have a show of my own in this year's Summer festival at The Brick (THANK GOD!), but I am MASSIVELY jazzed about the lineup we have going on, including shows from some of my favorite theatre artists: work from Nosedive (James Comtois and Pete Boisvert here), Ten Directions (Audrey Crabtree and Lynn Berg), Blue Coyote (Matthew Freeman), and a brilliant company I've long been hoping would do something at The Brick, Theatre Askew (Tim Cusack and Jason Jacobs). Also new work from Adrian Jevicki, Gavin Starr Kendall, Danny Bowes, and the terrific looking Adventure Quest.

(I haven't made my life any easier by being excited enough by the work that I've agreed to do the light design for four of the above companies . . . ah, well . . .)

Anyway, I need to get some sleep, and there are no new kitty pictures this week yet again, but I like this combo photo I made up to go in a little double frame Berit's giving a special someone for a special holiday this weekend . . .

Combo Photo of Us and the Kitties

collisionwork: (GCW Seal)
2009-05-01 10:42 pm

The Brick's Shantytown Ball

A message sent from Berit and I to the Gemini CollisionWorks email list, crossposted here for those few who might be reading here who didn't hear about this some other way . . .

HEY FOLKS!

Ian W. Hill and Berit Johnson are not only the respective Arts and Crafts of Gemini CollisionWorks, we are also the co-Technical Directors of The Brick, the best, scrappiest, most wonderful little Off-Off-Broadway theatre in NYC (can you tell we love our theatrical home?).

Every year, we get the month of August at The Brick to put up whatever we want. And, believe me, you'll be getting more emails soon regarding our four shows coming up this year, all designed and directed by Ian W, Hill -- A Little Piece of the Sun by Daniel McKleinfeld, George Bataille's Bathrobe by Richard Foreman, Blood on the Cat's Neck by Rainer Werner Fassbinder, and an original stage/video art work by IWH and David Finkelstein of Lake Ivan Performance Group. So, we'll be asking for your attention for (and tax-deductible contributions towards) those shows in the near future.

But first, we're asking for some support for the theatre that is our home and which we love . . .

Tomorrow night, May 2nd, The Brick is holding a benefit ball at Galapagos in DUMBO. In keeping with the theme of our upcoming Summer Festival -- The Antidepressant Festival -- which combines both ideas of being anti- personal depression as well as anti- Economic Depression -- we are creating . . .

THE BRICK'S SHANTYTOWN BALL


Come as a flapper! Come as a hobo! Come as whatever you want, but please, if you can, come! The more people, the more fun (as well as the more benefit for The Brick). 8 pm to 3 am!

Free beer and 2-for-1 drinks from 8 to 10 pm! Raffle tickets and great prizes! Games! Live music!

Too much to go into here -- read more about it at the above link, or at the Facebook page we've created for it.

Only $20 if you buy your tickets in advance HERE and use the code EARLYBIRD when buying! (and advance buying helps us a LOT in being sure we have the supplies we need, so if you can . . .)

We hope to see you there, and at the Festival, AND, of course, at at least one of our four August shows!

best

Ian W. Hill, Arts
Berit A. Johnson, Crafts
Gemini CollisionWorks
co-Technical Directors, The Brick

collisionwork: (Judo)
2009-05-01 06:01 pm
Entry tags:

Toil Is Stupid

Wow, it got late today, and no post here . . . I've had this up in the background for hours (the Random Ten was done around 5.30 pm), but I had to work on more important things, namely, emailing friends who mightn't have been aware of The Brick's Shantytown Ball - a benefit for the theatre home I love and work at - going on tomorrow night.

So I had to send more than a few personal emails to friends, colleagues, and acquaintances asking them to come, then one big BCC email to all the rest of the names on the Gemini CollisionWorks email list (which I'll also post here next for those who'd like the info).

Long slow grey rainy day.

Now what was it I do here on Fridays anyway . . ? Oh, right . . .

A different kind of Random Ten today . . . I get a lot of music in digital form, and then it just goes into the iTunes (and maybe iPod) and I never really LISTEN to it unless it comes up on random. So recently I've been putting recent acquisitions into a special playlist and listening to THAT on random until I know I've heard everything that's come in. So right now, I'm currently enjoying a random mix of 246 songs in my iTunes that I've acquired in the past few days, only six artists and 18 albums, filling in some holes in my collection in the discographies of both some favorites and some not-so-much-favorites that just belong there . . .

1. "Last of the Mohicans" - David Thomas - Ghost Line Diary
2. "Voodoo Cadillac" - Southern Culture on the Skids - Too Much Pork for Just One Fork
3. "Sweet Young Thing" - The Monkees - Music Box
4. "The Long Goodbye" - Bruce Springsteen - Human Touch
5. "Zor and Zam" - The Monkees - Music Box
6. "Bobby Jean" - Bruce Springsteen - Born in the U.S.A.
7. "Don't Fall Apart on Me Tonight" - Bob Dylan - Infidels
8. "The Promised Land" - Bruce Springsteen - Darkness on the Edge of Town
9. "What Good Am I?" - Bob Dylan - Oh Mercy
10. "Let's Dance On" - The Monkees - Music Box

No cat photos today, so instead, one more album cover courtesy of LP Cover Lover -- another one that (like another favorite) makes it seem that some Christian music groups get a little confused by numbers . . .

The Looper Trio?

collisionwork: (Great Director)
2009-04-24 09:04 am
Entry tags:

Ramping Up

Had the first reading of Trav S.D.'s Kitsch, Or Double Dutch Dumbkopfs (he's changed the subtitle) last night at Theater for the New City, with a cast of 14 taking on all the parts (the final show will need another 4 to 6 actors maybe). Went quite well, for the most part, showing us that the show will work, but still needs some work and rethinking in both the text and casting. Trav and I will have our differences on both, I know, but hopefully we'll work it out without a lot of problems.

Trav sent me his notes this morning, and I don't necessarily agree with them, but I see his point, which is as good. It's actually very very nice being a hired hand as a director for a strong writer/producer, as my function becomes very very clean, clear, and defined: how do I best serve this text, with these actors, in this space? I have to answer this question with my own shows, of course, but messier questions of "why?" come up in regards to all of these issues that I don't have to answer in a gig like this, I just have to do a pure craft job, which is nice sometimes.

First reading tomorrow of the Fassbinder play, Blood on the Cat's Neck, with most of the cast. As I lose one, somewhat central, cast member for most of May, I wanted to be sure to get a little work in on it right away. Nothing then until a first reading of George Bataille's Bathrobe on Thursday, if I can finish off some of the casting on that in time.

And I'm looking to get some last work in on the project with David Finkelstein this and/or next weekend as well before my rehearsal schedule puts that project on hiatus until September or so.

So, the year of shows has been ramping up fairly suddenly, and has begun involving actors in rehearsal rooms. Here we go.

And here's a Random Ten for Friday out of 25,527 tracks in the iPod (with educational links):

1. "The Big Time" - The Tammys - Girls Will Be Girls Vol.1
2. "Creation" - The Image - Prae-Kraut Pandemonium vol. 11
3. "Inertia!" - The Hustlers - Surf Legends (And Rumors)
4. "Embodiment Of Evil" - Meat Puppets - Up On The Sun
5. "Tryin' To Get To Heaven (live, October 5, 2000, London, England)" - Bob Dylan - The Bootleg Series, Vol. 8: Tell Tale Signs
6. "Bad Habits" - The Monks - Bad Habits
7. "Birds Eye View" - Tony Barber - Oceanic Odyssey Volume 12
8. "Stuff Up The Cracks" - Frank Zappa & The Mothers Of Invention - Cruising With Ruben And The Jets
9. "I Like To" - Men At Work - Cargo
10. "Raining Raining" - Nick Lowe - Nicks Knack

And for cat blogging, nothing new, just some leftovers from the last shoot, but still representative of the home -- Moni's still in the space helmet for another few days, and not too happy about it . . .

Mommy, Why?

Though she and Hooker and been extra affectionate with each other and us, which keeps making us wonder if something's wrong, or they're just reacting to getting some soft food every day, which they usually don't.
On the Sill, Coned

Moni still likes to look out at the birds outside, cone or no cone . . .
Moni Hates Us Right Now

I still have two pieces in writing progress coming up here soon - one on the work with David (though I'm tempted to hold off on that until this "season" of work is done and I can think about the whole time) and a bit of the novel I've been writing for 25 years (as of this month) in homage to the late Mr. J.G. Ballard, who was inspirationally responsible for me continuing to work on it.

So, more soon . . .

collisionwork: (angry cat)
2009-04-22 10:24 pm

Earth Day and Kitties

On a less-depressing note than all the obits of great old dead Englishmen . . .

Well, we didn't exactly do much for Earth Day around here (except maybe benefit the planet by staying in and not using any polluting fuel).

However, I'm thinking that in honor of the day, it might be time for me to do something for Berit I've been intending to, and suggest that those of you in the city do the same.

It's only $75 to join the Wildlife Conservation Society as an individual member. Follow the link. For that amount, you get free admission for a year to the four WCS zoos (one in each borough except Staten Island) and 1 aquarium in NYC, plus lots of other perks. For just an extra $15, the $90 plan, you get a guest in free with you as well, and some more perks (this is been what we've been looking at). Full regular admission for these places is anywhere from $10 to nearly $30. It's a good deal, if you use it.

And looking at the individual websites for all the zoos, it's worth it -- each of them have special, exclusive features that will be worth more than one visit in the next year. The NYC Aquarium . . . well, it tries. It has some nice things (Berit, from the Boston area, was quite taken aback at how MUCH less impressive it was than Boston's), but it isn't worth the normal ticket price. As part of THIS deal, however, it's quite worth it (especially with B & I living so close, and going down to Coney Island when we can during the Summer).

And how could we resist when we saw the video the Bronx Zoo released today of their new lion cub making its debut . . ?



collisionwork: (Laura's Angel)
2009-04-22 08:41 pm

Painting With Light

Just found out from the great website Destructible Man, a place for the scholarly study of "the dummy death in cinema" (really!) run by The Flying Maciste Brothers, that one of the greatest photographers in all of film, Mr. Jack Cardiff passed away today at the age of 94.

The Maciste Bros' tribute is HERE, with the promise of more to come.

Cardiff began his career in film in the 1910s (as an actor, then clapper boy), and was STILL working as a DP as of two years ago!

He shot close to 75 films (and directed a few, including some good ones, notably Sons and Lovers), but will probably be best remembered and loved for his glorious camera work on the Powell and Pressburger films (three of my very favorites) A Matter of Life and Death, Black Narcissus, and The Red Shoes.

He also shot Hitchcock's Under Capricorn and John Huston's imitation Powell/Pressburger film The African Queen, and many other great films of that period. However, his career extended all the way to shooting such films as Death on the Nile, Ghost Story, Cat's Eye, Conan the Destroyer, and Rambo: First Blood Part II!

The man knew and loved film, and knew and loved light. He was a master, and he was a worker.

Sorry if you read this when it crossposts on my Facebook notes page, where the videos don't show up, but you can always come over to the blog, if interested enough. Here's 6 minutes of a TV profile of Cardiff, with a number of clips (unfortunately, part 2 seems to not be posted, dammit):



And, though it's a crime to reduce Cardiff's gorgeous work to a 480x385 pixel low-res YouTube reproduction (especially if you've been lucky enough to see any of these films in an actual dye-transfer 35mm print), even in this tiny form, amazingly, you get enough of a taste of his work, so here's the classic climactic sequence from Black Narcissus featuring Deborah Kerr and Kathleen Byron (SPOILERS, if you care):



And here's the opening to A Matter of Life and Death, with David Niven and Kim Hunter:



RIP Mr. Cardiff.

Kathleen Byron
Kim Hunter

collisionwork: (philip guston)
2009-04-22 03:37 pm
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J.G. Ballard -- Films, Dreams, and Beliefs

So, the writer J.G. Ballard died the other day. He was 78 and had been fighting cancer for a few years.

I’d call myself a big fan of his, though he was in fact gigantically prolific and I really only know a small fraction of his work. But what I do know I know well and love: the novels The Crystal World, Concrete Island, Running Wild, High Rise, and a number of short stories I’ve read in various anthologies, but especially the two great novels The Atrocity Exhibition and Crash. I’ve had a copy of Cocaine Nights for years (someone left a set of uncorrected bound galleys at Nada for some reason) but have only now started to read it, and am quite liking it as well. But actually I’ve been most often jumping around between all of the favorite works mentioned for the last few days, reading favorite bits and pieces of each from one, then jumping to another, back and forth, over and over. They all kind of become one work, in any case . . .

Crash was also, of course, made into a fine film by David Cronenberg that does a pretty damned good job of getting the story across onscreen, though it still can’t capture the real essence of the book, which is contained as much in Ballard’s narrative voice as in the plot (a film that got that voice completely would actually be – as Cronenberg once said an accurate film of Naked Lunch would be – banned in every country on Earth). Cronenberg may be a hair, just a hair, too sane (would you believe?) to really get the feel of Ballard. As a fan of the book, I also had distinct pictures in my head of what most of the characters looked and felt like, and while most of the casting was acceptable to my dreams of them, I just couldn’t see Elias Koteas, good as he is, as the hoodlum scientist Vaughan, who I had always pictured more as a scarred-up and badly plastic-surgeried Harlan Ellison, circa 1974, in leathers and denim.

I’m told that Jonathan Weiss made an excellent film of The Atrocity Exhibition. I have a copy of the screenplay, and it is a surprisingly good adaptation of a seemingly unadaptable novel. Oddly, I got the screenplay long before the film was made, or at least released, hanging out at Bar Bob on Eldridge Street sometime in 1994 or so, when it was still an “art bar,” and winding up in conversation with a stranger at the bar, which wound up turning to the subject of Ballard. He mentioned he was working in some capacity on this film that was being made of Atrocity ( a dubious proposition, it seemed to me), and left the bar to run to his nearby apartment and return with a copy of the script, which he gave to me. There seemed to be some implication that maybe I would want to work on the film in some capacity, but it was never stated and I had no opening to suggest it myself (it was all very Ballardian; it felt like a seduction of one kind or another, of me – not especially a sexual one – and I was blowing it). So I just wound up with a fine screenplay on my shelf for a few years, which I was actually surprised to find got made, though I still haven’t seen the final film.

Of course, the biggest film made of a Ballard book was Spielberg’s adaptation of his memoir-in-the-form-of-a-novel, Empire of the Sun, about JGB’s experiences in Shanghai as a child during the Japanese occupation. An almost-excellent film, horribly scarred by a maudlin and destructive John Williams score that screams at you what you are “supposed to be feeling” during the high emotional points and thus destroys any real feeling that might be occurring (a continued problem with Spielberg’s “serious” films – the horrible Williams scores that massively damage not only Empire but also Amistad and Saving Private Ryan -- I’d say that Williams should stick only to action, which he’s great at, but for some reason he does just fine by Spielberg on Schindler’s List and Munich, so I dunno . . .). Despite that score, the film succeeds, mainly because of the amazing performance of Christian Bale, still a child, but definitely not giving a “child actor” performance.

Ballard was quite happy with all three adaptations of his work, so he was a rather lucky author in that regard (not a lot of great or even really-good books work well onscreen; JGB’s prose was rather “cinematic” – he was a movie-lover, though I don’t seem to share his tastes too much – so that may have helped). Maybe someday someone will finally get to making a film of his intensely cinematic novel High Rise.

If anyone wanted a good intro to Ballard, I’d suggest above all issue #8/9 of RE/SEARCH, the magazine in book form that Andrea Juno and V. Vale used to put out, which was an entire JGB overview issue, containing interviews with and about Ballard, short fiction, novel excerpts, non-fiction, and – perhaps most valuably – his collages-as-short-stories (or perhaps short-stories-as-collages), some of which were published (as advertisements) in the magazine AMBIT, others intended to be “published” as billboards on English highways (unfortunately, this never happened). A rich collection of Ballard that can serve equally well as intro to the newcomer, and treasury for the fan.

There is plenty of other info about the man and his work, and tributes to him, at the Ballardian website.

The RE/SEARCH issue also includes, as a postscript, JGB’s response to a 1984 request from a French magazine to state “what he believed.” I don’t necessarily agree with all of JGB’s expressed beliefs (and I’d be surprised if he did much of the time, though I’m sure he did as he typed them), but I find them, like the best of his work, moving, provoking, and inspirational, so I reprint JGB’s “What I Believe” here, below behind the cut, in tribute. Enjoy, if that’s the word . . .

WHAT I BELIEVE by J.G. Ballard, 1984 )

collisionwork: (sign)
2009-04-22 02:11 pm
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J.G. Ballard (1930-2009)

J.G. Ballard, from an interview conducted 10/29/82 with Andrea Juno and V. Vale for RE/SEARCH issue #8/9, published 1984:

So where will the next breakthrough come? It’s impossible to say – there may not be another one! . . .

That’s my big fear, actually. I was talking to my kids and some of their friends, all of whom are in their early 20s, and I was saying that if, as a science fiction writer, you ask me to make a prediction about the future, I would sum up my fear about the future in one word:

boring. And that’s my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again . . . the future is just going to be a vast, conforming suburb of the soul . . . nothing new will happen, no breakouts will take place. It could happen – that’s what my fear is. I don’t know what one does about that – opens a vein or something – I mean in the sense of suicide . . .

collisionwork: (angry cat)
2009-04-17 01:12 pm

In the Cone of Silence

I have a friend coming by to hang out this afternoon/evening, Berit & I have just finished doing the bare minimum of cleaning required to get our cave passable for humans to enter (at least, one who is an understanding friend) and I now must leap in the shower.

But first, quickly, the standard Friday bag. I'll try and be back later with more info on the status of The Brick, the August shows, and my work with David Finkelstein (in short, all goes well). Plus maybe a few more words on The Wooster Group's show -- the first show I've seen of that august company, and I quite enjoyed myself.

But for now, here's 10 randomly from the 25,326 in the iPod as of today, with links so you can enjoy them, where available:

1. "The Monochrome Set (I Presume)" - The Monochrome Set - Strange Boutique
2. "Arabian Knights" - Siouxsie & The Banshees - Once Upon A Time: The Singles
3. "Echo" - The Mekons - The Mekons Rock'N'Roll
4. "Waltz In Orbit" - Ray Cathode (aka George Martin) - Single 7"
5. "Love > Building On Fire (live 1983)" - Talking Heads - 08-03-83 Saratoga Performing Arts Center
6. "Waiting for the Man" - David Bowie - Pierrot in Turquoise
7. "Bike Ride To The Moon" - The Dukes Of Stratosphear - Chips From The Chocolate Fireball
8. "The Girls Want To Be With The Girls" - Talking Heads - More Songs About Buildings And Food
9. "Pressure Drop" - The Clash - Super Black Market Clash
10. "Camel Back" - A.B. Skhy - Funky16Corners Blog

And we're also dealing right now with Moni being in the post-surgery kitty Cone of Silence . . .

Moni in Coney

Unfortunately, as opposed to when Hooker was in one for his ear surgery (as he is a somewhat smarter cat), Moni doesn't really have the brainpower to "get used" to the cone, so this may be a long week of us dealing with her bonking into things and getting stuck on things (and trying constantly to "back out" of the cone and hitting invisible walls she doesn't understand).

At least she's happy to get soft food twice a day while she's in it (to go with her medication) though she makes a massive mess of trying to eat it in the cone.

Hooker seems to feel her pain . . .

Hooker Feels Moni's Pain

Okay, off to rush to have an enjoyable, relaxing day . . .

collisionwork: (Big Gun)
2009-04-16 09:01 am
Entry tags:

Shots

Here are a few somewhat random videos seen recently that I wanted to share . . .

The Firesign Theatre (well, three of them - this was during a period without David Ossman) does the J-Men Forever treatment again on an old movie serial, transforming some of the Commando Cody epic Radar Men from the Moon into "The Last Handgun on Earth":



Continuing the "gun" theme, an animated flash video by David Lynch for a new instrumental by Moby, "Shot In the Back of the Head":



Continuing the "animation" theme, an early piece of animation by The Church of the SubGenius' Rev. Ivan Stang back when he was still Douglas St. Clair Smith, "Reproduction Cycle Among Unicellular Life Forms Under the Rocks Of Mars" (very influential on me when I was doing some clay animation at NYU):



And on the "Art School" theme, Father Guido Sarducci explains why YOU should become an artist in this promo for the San Francisco Art Institute:



And on the . . . uh, I dunno . . . "jobs" theme, maybe (I'm stretchin' it here to make the conceit work, I know), here's a German film about safety in the workplace, containing that fine sense of German humor we all know so well. Some places list this film as a "parody" of instructional safety films, which it somewhat is (it's more one made with humor and to be over-the-top), but it's actually used in classes and workplaces -- please meet "Staplerfahrer Klaus" (that is "Forklift Driver Klaus") on his first day of work:



And just jumping themes completely, here are two videos of cute cats, one a tough little kitten, the second, a cat just back from the vet and still coping with being sedated:




collisionwork: (Squirt)
2009-04-11 09:46 pm

More Fun with Christian Album Covers

And from the many fine and funny (and occasionally disturbing) album covers on display at LP Cover Lover, another couple of Christian Music albums covers for your entertainment, where it just feels like there was a lack of awareness of what the cover might be saying/

I know who they're talking about here, but they might have made it clearer . . .

He's Coming

And the five members of The . . . uh . . . Gospel Four appear to be upset about missing their bus, and given the title of their album, they may be waiting a LONG time before they can move on . . .

I Won't Walk Without Jesus

It reminds me of some of the recent comments I've seen online about the current Conservative "teabagging" craze, to the effect that none of them were actually calling it that as they were smart enough to know what it means to some people in some contexts -- they were always using the term "tea party" and it was the dirty-minded Librul Media that said they were using the occasionally dirty term, so they could make fun of them. Sorry, nope, there's plenty of video and websites out there showing them discussing wanting to "teabag" Obama or (more ambitiously) "teabag" the White House. Ah, somewhere, John Waters smiles . . .