CollisionWorks

Tonight at 8.00 pm and tomorrow at 4.00 pm will probably be your last chances to ever see my play NECROPOLIS 1&2: World Gone Wrong/Worth Gun Willed. I've done it twice, two years apart. It's had it's run. Unless someone wants to pay me to bring it back somewhere, someplace (unlikely), it goes into the storage cage, indefinitely.





With AEA showcase rules, I couldn't bring it back for a while anyway, and I have other things to move on to - my own Spell, Kindred, That's What We're Here For (an american pageant revisited), NECROPOLIS 4: Green River, NECROPOLIS 5: ARTisTS, as well as plays by other people - Richard Foreman's Harry in Love: A Manic Vaudeville and George Bataille's Bathrobe first and foremost in my head.





Martin Denton's review of the 2005 production is HERE, among others. Michael Criscuolo referred to the current production as "spectacular" in his great review of NECROPOLIS 0 and 3 (you've got over a week before those go away forever).

Tickets are $10 and available at the door (cash) or in advance (credit card) HERE. Scroll down for more info on location, etc.


Hope to see some of you.

Well, now that I sent out the email blast and all the mid-run publicity stuff, we get the rave review of Succubus/Slumberland I've been hoping and waiting for, for pull quotes and the like.


Oh, well. Into next week's "LAST TWO SHOWS" email.


Thanks, Mr. Criscuolo -- glad you got it.

Today, I have nothing I HAVE to do for the shows. So after some needed Art intake, I'm going to be walking all over the West, Center, and East Villages, Lower East Side, and Tribeca putting cards for the shows at as many Indie Theatres (and rep movie houses, given the noir appeal of WGW/WGW) as I can.

I've made up a list of 23 venues to card - some of them will wind up not being open, or not permitting cards from outside venues right now, and I'll find other places to hit along the way, so maybe 25 places total.

So, first I have to go over to Duane Reade and buy a bag of strong rubber bands.

Then, I go get the boxes of cards for The Necropolis Series and Hobo out of the van, sit down, and make up 25 packets of 20 cards each for each show, and band them (NB: As someone who has run a few theatres, it is POINTLESS and ANNOYING to leave any more than 20 cards at a time at any venue -- they will get knocked to the floor, spread all over the place, mostly not get picked up, and ultimately will wind up in the trash -- put out 20, check back a week later, if some have been taken, fill out the pile to 20 again, no more - for spaces with large display racks - eg; The Kraine - you can maybe spring for 2 piles of 20).

Then I bag the packets up (and this is going to be a damned heavy carry, unfortunately . . . 1,000 cards? half of them oversized 8.5x5.5" ones? . . .oy . . .). Go shower, shave, and get clean -- I have a need to feel nice today. Blue contacts and fake teeth in, too. Maybe if it's nice enough, I'll even wear my straw boater in my perambulations (Berit's still out cold, or she might dissuade me from walking out the door with that hat on by calling me a "fop").

Subway to MoMA, check the heavy bag, spend as much goddamn time as I like and need in there to feel right again. See every damn thing in there that I can until I can't see anything right anymore.

Then, subway to the Village, start on Vandam.

And then, a couple hours of walking -- from Bank, Commerce, Christopher and whatever to Ave. A, Suffolk and whatever to Church and Franklin, and then subway home.

So this is the day off. It's a nice one.

Okay performance of WGW/WGW last night. In the house was playwright Jeff Jones, whose 70 Scenes of Halloween I once directed at NADA -- well, kind of, we had to cancel the production because we were being evicted, so we did a weekend of free performances of it as a staged reading (though the actors surprised me by learning almost all their lines anyway and not using scripts except for a scene here and there). Bryan, who was in that production as The Beast, was working box office and had a nice chat with him about it. I hope to restage that production someday. Though I don't think Mr. Jones liked last night's show very much. Oh, well. I don't know if I could get Frank Cwiklik and Michele Schlossberg back to play Jeff and Joan, but I could get Bryan and Christiaan back as The Beast and The Witch -- I don't know why, but its always been important to me that the two couples in that play be played by real-life couples. Jeff Lewonczyk and Hope Cartelli would be great as Jeff and Joan, too, though the image of an onstage young married couple sniping at each other being played by a real-life young married couple might be a bit more uncomfortable when the actor shares the same name as the character.

And why just "okay" last night . . ? Well, I've never been able to cure second-show-slump. There's always that big DIP in energy after the cast has gotten one show under their belt and feels like they know what they're doing. A bit low-energy last night. And a little low-attentive. I had fixed the sound a bit, mainly to eliminate the giant pauses I had on the soundtrack between scenes, during the transitions. But I seem to have gone too far, because almost none of the transitions got done on time last night, and people were always still out on stage changing things when a new scene would begin.

At the same time, it wasn't only the shorter time, but that people were being a bit slower about it, too. On opening night, everyone was still so jumpy and nervous about getting the transitions right (we didn't rehearse them nearly enough, of course) that they just WENT FOR IT. Last night, I could see the cue line for the transitions happen, which people are supposed to GO on, but there would be a beat and a breath and then they would tentatively start for the stage (not everyone, but enough to make a difference). It got better as the show went on, and the cast realized they had a lot less time to move things, but it was still wonky to the end.

So I'm lengthening the transitions a bit, where needed, but I also have to get people to go faster and with more purpose and focus. Berit and I will fix the light cues a bit too, as they should go down faster at the end of every scene (it doesn't encourage people to start moving on a transition when it looks like they'll be walking into a fully-lit scene, though the lights will be changing right along with their move). The transitions are a little harder to deal with on this production, as compared to the 2005 original, because we've replaced the rolling trunk on a dolly with an actual desk, which needs two people to move it (carefully) as opposed to just quickly rolling it into position, and the power cords for the light stands now trail upstage rather than out a downstage aisle, and they tend to get caught on things more (unfortunately, now that they are being controlled from the board, that's where they NEED to go . . .).

The show between the transitions, however, was good, if not so sharp as opening night. Tonight I'll take a closer look at whether I should tighten up some of the scenes in dialogue editing or not.

My plan for today was to finish the transition-lengthening, drive to The Brick and drop off the new disks, pick up lots of cards for both shows, L Train it into Manhattan and schlep around from theatre to theatre (and a couple of rep movie houses) dropping off packets of cards, hitting as many Fringe NYC venues as I could. But the weather is not so great for this . . . Still, has to get done. Then I'm meeting a friend at The Brick at 3.00 to just hang out for a bit. And around this I want to work on my performance and lines for The Hobo Got Too High, which we'll be actually doing for an audience for the first time tonight.

So, maybe I'll just work on my lines and other Brick things, and do the theatre runaround tomorrow. The weather's gotten worse as I've been typing.


And on the iPod this morning, from among 21,056 songs:


1. "Where Are We Going?" - Marvin Gaye - The Very Best
2. "A Day in the Life" - The Beatles - Sgt. Pepper's Lonely Hearts Club Band
3. "The Gremmie, Part 1 (alternate version)" - The Tornados - More Surf Legends (And Rumors)
4. "Glass Onion (remix)" - The Beatles - Love
5. "Sweet Dreams" - Roy Buchanan - Sweet Dreams: The Anthology
6. "Liar, Liar" - The Castaways - Nuggets: Original Artyfacts From The First Psychedelic Era
7. "Summertime Blues" - Blue Cheer - 45's on CD Volume III ('66-'69)
8. "Sunday Morning" - The Velvet Underground - Peel Slowly and See
9. "Marlene On The Wall (live)" - Suzanne Vega - Live At Stephen's Talkhouse
10. "Settle Down" - The Flirtations - Northern Soul: The Cream of 60's Soul


More after the weekend, when I finally have a day off (and I think I'll be making a MoMA trip, finally, for the Serra).

AH! Finally! Someone has and has posted Jim Henson's 1965 short film Time Piece, which I've been wanting to see again for a while, and which I mentioned back a few months ago when I posted some of Henson's other non-muppet-related film/video work.


I first saw this back in 1983 in a class at Northfield Mount Hermon (where we were all surprised to see who had made it in the end credits, though in retrospect, looking at it, we shouldn't have been). I have a copy somewhere . . . on a Betamax tape (some day I'll get a player again for that trunk of 300 Beta tapes I have, many of which are rare things I haven't found anywhere else). Enjoy it.

We have two shows opening the day after tomorrow . . . well, actually tomorrow, at this point. And a third (made up of two shows with two casts of 8 people) next Wednesday. I knew this was an insane plan. I didn't know quite how truly psychotic it would turn out to be.

After a few days of thinking we were so behind it would be impossible to open, it has become clear that we can open on time, and well. However, in order to make this possible, Berit and I will become total wrecks for a week or so. Fine.


Not much else. I'm about to go to bed for three hours while she works, then we'll switch off, as she needs the good computer for the Powerpoint slides for the show, and I need it for the sound editing. Hoo boy.


Oh, and here's the card for The Hobo Got Too High by Marc Spitz, opening tomorrow at 10.30 pm. A little simpler than our NECROPOLIS card, but just here to get the job done:








Don't know about a random 10. Maybe I'll need a music break at 5.30 in the am or something. I'll let you know.

NECROPOLIS #1&2: World Gone Wrong/Worth Gun Willed opens in five days. The cards should be here tomorrow. Sometime this week, I have to find a time (hah!) to go around and leave them in good places and good spaces.


I already posted the more interesting front, but here's the back:





Final card is 8.5 x 5.5" (and therefore legible), with glossy front and matte reverse.

Today, work all day on the soundtracks, then, at 6.00 pm, three hours of Slumberland rehearsal (and record one last bit of the show), then two hours of Worth Gun Willed rehearsal.

Tomorrow morning, record the last pieces of Succubus, then work on the soundtracks, then 60 minutes of World Gone Wrong rehearsal, 90 minutes of Hobo Got Too High rehearsal, then 90 minutes of Succubus rehearsal.

Wednesday, rehearsals all day from 10.00 am to 6.00 pm with different individuals/groups from different shows (Jessica Savage gets the big block of 90 minutes to rehearse bits of all three shows she's in), then the first big World Gone Wrong/Worth Gun Willed rehearsal from 7-11.00 pm, with 18 out of 21 cast members (best we can do until tech on Saturday.

Thursday, daytime left open so Berit and I can actually do tech stuff, etc. 7-11.00 pm, Succubus rehearsal, including filming one of the "porno" movies featuring half the cast.

Friday, rehearsals all day from 10.00 am to 6.00 pm with different individuals/groups from different shows, including a big block where we film the other "porno" movie with the other half of the Succubus cast. Then Hobo tech from 7-11 pm.

Saturday, we have the whole cast for World Gone Wrong/Worth Gun Willed from 12 noon to 6.00 pm for cleanup, cue-to-cue, and tech/dress run. Then break. Then we open the show at 8 pm. Brief pause, then The Hobo Got Too High opens at 10.30 pm.

Then, Berit and I get up and go to a wedding on Sunday. If we can get back to NYC in time, we rehearse that night, either Succubus or Slumberland or both (probably just Succubus).

Monday night, we again rehearse either Succubus or Slumberland or both (probably just Slumberland).

Tuesday, we tech Kiss Me, Succubus, At the Mountains of Slumberland from 6.00 pm until done.

Wednesday, we open that bill at 8.00 pm.

Then, we're running. And we're fine.

Then August is over, and Berit and I go collapse in Portland, ME for several weeks.


But right now, I have work to do, and shouldn't be futzing with my blog, except that sometimes, you do need a break in the work, just to stay sane.


See you on Friday, with a Random Whatever list . . .

I spent the last 4.00 pm to 3.00 am editing the sound for At the Mountains of Slumberland -- and that was just the dialogue editing. Didn't even get to do any music/effects tracking or mixing, as I'd hoped to have for this morning's rehearsal -- Slumberland from 10 am to 2 pm (we'll just work with the dialogue tracks - start getting the actors used to being "dubbed"). Then I have to spend 3 pm to 7 pm doing more sound work, trying to get the backing tracks for this evening's World Gone Wrong scenes ready for those rehearsals.


Everything will happen. But later than I'd like.


Berit, up all last night on the other shift, crashed when we got home from yesterday's morning rehearsal, got up in the evening, and took over on the computer from me around 3.30 am, when I got to bed. I woke up at 7.00 am, and she wanted my opinion on the card front:





I think that works. It'll look good BIG, too (we're doing a 8.5x5.5" card with this, as I think I mentioned). I've typed and laid out all the text for the back, and we know the images to go there (just need to FIND one of them . . .).


Okay, have to leave in 15 minutes. Need to make sure I'm not forgetting anything.

Posts will continue to be slow around here, probably, as I scramble to get my four plays on three bills ready to open.


NECROPOLIS 1&2: World Gone Wrong/Worth Gun Willed opens Sat. Aug. 4 at 8.00 pm. The Hobo Got Too High by Marc Spitz opens at 10.30 pm that same evening. NECROPOLIS 0&3: Kiss Me, Succubus & At the Mountains of Slumberland open the following Wednesday, the 8th, at 8.00 pm. Not a lot of time, and much to do. At least we're all cast and working, and the backing tracks for the NECROPOLIS plays are mostly recorded. Now I'm doing the sound editing/mixing, which, as always, is a slog. A fun one at times, but a slog.


I was up most of the night Wednesday (or rather, early Thursday) hacking out a rehearsal schedule for the four shows that would actually give us enough rehearsal time with each show before it opens, that would also actually work with the varied schedules of the 30-or-so actors involved. And I think I licked it. The actors seem to think so, at least. When I'm not on the computer doing the sound work, Berit is on designing prop pieces or putting together the postcards, which we need to send out soon to the printer. So there's been a few images batting about the desktop for research for the giant (8.5 x 5.5") card we're doing for the three NECROPOLIS shows:


for At the Mountains of Slumberland:


for Kiss Me, Succubus:


for World Gone Wrong/Worth Gun Willed:



But now I'll take a break from dialogue editing to check my blogs and listen to some music -- iPod now at 21,016 songs, 72.57 gigs, and here's what's random:


1. "In a Hurry" - Shawn Lee's Ping Pong Orchestra - Ubiquity Studio Sessions Vol.3—Strings & Things
2. "Young Savages" - Martin Denny - Ultra-Lounge 17: Bongoland
3. "Roadrunner (live)" - The Modern Lovers - Precise Modern Lovers Order: Live In Berkeley & Boston
4. "I Can't Get Next to You" - The Temptations - Hitsville U.S.A., The Motown Singles Collection 1959-1971
5. "Opportunities (Let's Make Lots Of Money)" - Pet Shop Boys - Please
6. "I Love You" - The Velvet Underground - Peel Slowly and See
7. "Cool" - Lou Busch & His Orchestra - Ultra-Lounge 4: Bachelor Pad Royale
8. "Mirage" - Tommy James & The Shondells - Bubblegum Classics Volume 3
9. "Fortune Teller" - The Throb - Before Birdmen Flew - Australian Beat, R&B & Punk: 1965-1967 Vol. 2
10. "The Fun We Had" - The Ragamuffins - Pebbles Volume 4 - Surf'n Tunes!


Okay, I can allow myself another half-hour for myself, then back to the shows . . .

The whole damned Harry Potter mania.


Okay, I wound up liking the books more and more as they went along. At first, I was a bit impressed with Rowling's world, but I thought it was nothing special in the land of fantasy literature, and that there were plenty of other authors who had created as dense and wondrous worlds, but with more interesting characters and plots, and I was a bit peeved that Potter seemed to be the end-all and be-all as far as many of the readers of the books were concerned.

I still think there's deeper and more interesting fantasy series out there, that like the Potter books are written for children but fun for adults, too (my vote always goes for Susan Cooper's The Dark Is Rising books, which reports say are about to be destroyed on film), but as Potter has gone along, I've been swept up more and more in the world, and especially in the characters, which I think JKR has been getting a better and better handle on writing.

So, I'm looking forward to reading the last one eventually, but not chomping at the bit nor especially avoiding any spoilers.


And I'm enjoying the nasty side of Potterdom that comes out, too. Such as the fake book covers you can find HERE at David Wong's Pointless Waste of Time, which are designed for those adults who are indeed obsessed with Potter, but don't want to admit it in public. You can just print out one of these handy, very adult covers, and no one will know you're reading about a teenage wizard.

There are many on the site, not all as obscene as this, my favorite, but several are more so:





So check the link for more, and at the proper size. Enjoy.