collisionwork: (kwizatz hadarach)
Shows that are up or coming or upcoming from collaborators and friends that you should see and they will be fun and relatively cheap and then you can smile and have a good time and then have maybe some cookies or something and a nice glass of something tasty and then we can have world peace or something:

Matt Freeman's When Is a Clock? has opened. The last two pieces I saw of his at The Brick were terrific and hysterical (An Interview With The Author and Trayf) and I plan on seeing this one . . . whenever the hell I can. If, unlike me, you're not rehearsing, like, six shows right now and have some free time, see the damned thing. Runs April 15 through May 10 at Access Theater.

More info is HERE; tickets are available HERE.

James Comtois' Colorful World opens at 78th Street Theatre Lab on May 8th and runs to the 31st. I think they were rehearsing next door to us at Battle Ranch last night -- Michael Gardner asked, "Did I hear Jessi Gotta's laugh?" Apparently so, as a big mess o'cards got left there afterwards. It's a riff on superheroes in a recognizable, real world in the vein of Alan Moore's Watchmen. Again, hope I get to see it.

If you can, tickets and info are HERE.

Coming up at CSV-Milagro shortly is the new entry in Stolen Chair's "Cinetheatre Tetrology," The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination, created by Jon Stancato & Co., which combines Errol Flynn swashbuckling films with Greek Tragedy. Really. April 25-May 17.

Info HERE, tickets HERE.

And at the home territory of The Brick . . .

The season finale of Penny Dreadful - Episode 6: "The Earth Shook, The Sky Burned" - will play this Saturday at 10.30 pm and Sunday at 2.00 pm. I'm lighting this one with Berit, as always, and also acting in this one as George Westinghouse (a comment on my usual position as supplier of power to the show?). It's a corker of an episode to end the season with, and will have people eagerly awaiting the return in September.

Tickets are HERE.

Finally, Babylon Babylon has a final preview tonight and opens tomorrow (with big party to follow).

I've been describing this one plenty (as I've also lit this, though it still has another name on the homepage . . .), so I needn't say much more, but the show has really turned out well, and it's quite exciting to see so many good actors (31!) all working together at the same time on the same stage.

Here's a photo from production photographer Ken Stein, taken at the first preview:

Babylon Babylon - The High Priestess 2

I have a bunch more nice shots from the show, but I'll put them all behind a cut here for easier loading . . .

Hail Ishtar! - photos from final dress and first preview )



This show runs from April 18 to May 10. Blog is HERE, tickets are HERE.

That's all for now. More tomorrow. See some theatre.

collisionwork: (Ambersons microphone)
Well, I - or extensions of me - have been showing up elsewhere online.

In the one that I was expecting, and had mentioned before, the interview I did with Jon Stancato of Stolen Chair Theatre Company is now up at ArtRadio: WPS1.org -- you can hear it HERE.

I think this is a pretty good half-hour discussion (they thankfully cut the 30 second lull where I went up on anything to say, having jumped to the "finale" question five minutes too early). It mainly works because Jon is so together in talking about his company and their work - I just have to suggest something slightly and he goes off into talking quite articulately about it, and without sounding "prepared."

As for me, Berit just cracked up on hearing my intro, saying that I had completely gone over-the-top into "NPR-land," and that I sounded like I was in one of those Alec Baldwin SNL sketches about the "Schwetty Balls." Yeah, true. I think I was a hair nervous to start, and put on a "radio voice" to feel comfortable doing this (it's not a Firesign Theatre voice, but it comes from the same part of my brain that pulls out those voices and characters so easily). I get looser and sound more like myself as the program goes on. Though Berit also points out my annoying "you know" vocal tic. Ugh.

I was worried immediately after the recording that I had "inserted" myself into the discussion too much, which was supposed to be about Stolen Chair, of course, but as Jon had specifically asked me to do this as a fellow theatre artist, I felt I had to turn it into a discussion a few times rather than a straight "interview." Still, I was really uncomfortable about it right after the recording, but listening to it now, it seems like just about the right amount of me in proportion to Jon.

I wince a bit at the way I say I've been doing this much longer than Jon, 10 years, and he notes that he's been doing it for 6, which isn't so much of a difference - but I think I was including in my head the 8 or 9 years or dithering around as solely an actor and techie-for-hire before I got myself together to start producing and directing my own shows, which he (smartly) never went through. I still felt like "the old guy" who took forever to get himself even slightly together (and still really isn't) talking to the younger guy who was really together right out of the gate and is on his way to bigger things.

In the end, a nice piece about Stolen Chair, I think.

To my surprise, one of my snow photos of Gravesend, Brooklyn wound up in a post at a favorite Brooklyn site, The Gowanus Lounge.

Then I was surprised to find my digital camera videos getting more hits than expected on YouTube. Not much, but not what I expected just from posting them here. Turns out they had also wound up in a post at Gowanus Lounge. Nice.

I've seen five people thus far in auditions (and, amazingly, all good thus far) - seeing more tomorrow and Saturday. Today, Wednesday, and Thursday, I'm lighting and acting in a short video for Daniel McKleinfeld. I think I'm coming down with something (I have an odd-feeling throat, as does Berit - she thought it was just from working long hours in the moldy basement of Walkerspace, but it's looking less likely), so I should stay well away from auditioners and fellow actors.

And I have to get to work on Penny Dreadful. Let alone finish with casting my shows. How did I get this busy right now? I was supposed to be able to leisurely get my shows together right about now . . .

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