collisionwork: (sign)
We did photo calls for three of the four plays we put up last month, the three NECROPOLIS plays, on the days they closed. I'm in the process of collating all of them from all sources, fixing them up in Photoshop, and posting them at my Flickr page -- I'll start posting them here once I've fixed the whole damned lot.

Berit and I don't currently have a functioning camera, so we relied on the kindness of our actors, asking any of them who had a handy digital camera to bring it to the calls, as I've had good luck in the past with a whole bunch of cameras each taking a whole lot of photos producing some really damned nice ones.

So at the WGW/WGW call, there was a lot of this:

The WGW Cast Shoots Itself

Here, Yvonne Roen, Mateo Moreno, and Stacia French take pictures of a scene they're not in as Sammy Tunis adjusts herself and Jessica Savage and Alyssa Simon lurk in the shadows.

Above photo by, I think, Iracel Rivero -- the problem is that as people were being photographed, camera were being handed back and forth, so I have no idea at times who took which shot.

Here's one of Iracel, taken with her own camera by, I think, Aaron Baker:

Iracel in the Shadows

So, sorry friends if I don't credit these all properly -- here's another two from Iracel's camera, possibly taken by her, maybe by Aaron - first, the shadows of a flunky (Bryan Enk) and a goon (Roger Nasser):

Shadows of a Goon and a Flunky

As their boss, Louis the torpedo (Jai Catalano), sits in the shadows:

Jai in the Shadows

And the dressing room of The Brick, during the whirlwind visited on it by the regular presence of 29 actors in four shows for four weeks in very VERY little space:

The Brick's Dressing Room

I'll have actual show pictures in the coming days, and some more of these behind-the-scenes ones, too.

Last Call

Aug. 22nd, 2007 01:10 pm
collisionwork: (GCW Seal)
Five days and six performances left in this crazy Summer. Here's the promo sent out to my list and posted on my MySpace page:


TWO SHOWS FROM
GEMINI COLLISIONWORKS

FINAL THREE SHOWS FOR EACH!





**********

all shows at

The Brick
575 Metropolitan Avenue, Williamsburg, Brooklyn
right by the L Train (Lorimer) and G Train (Metropolitan/Grand) stops

all tickets


$10.00

**********

Gemini CollisionWorks and The Brick Theater, Inc. present



NECROPOLIS 0:

Kiss Me, Succubus


and

NECROPOLIS 3:


At the Mountains of Slumberland

written, directed, and designed by Ian W. Hill





Wednesday, August 22
Thursday, August 23
Sunday, August 26


at 8.00 pm

"Gemini CollisionWorks's hypnotic new revival of Ian W. Hill's NECROPOLIS 0&3: Kiss Me, Succubus and At the Mountains of Slumberland


shows one of indie theater's most singular and unique talents working at full power. These two one-acts show Hill in top boundary-breaking form as he pays homage to H.P. Lovecraft, classic comic strips, and 1960s exploitation movies in the typically fearless fashion theatergoers have come to expect from him . . . terrific cast . . . one of the most visually stunning productions I've seen in a while . . . For theatre-goers who have never experienced the inventive and uncompromising work of this veteran indie auteur, I can't think of a better time to do so than right now."
-- Michael Criscuolo, nytheatre.com - full review at
http://www.nytheatre.com/nytheatre/necr5527.htm

more information here: http://www.bricktheater.com/gemini/necropolis03.html or http://collisionwork.livejournal.com/94113.html

tickets: http://www.theatermania.com/content/show.cfm/show/135639

NECROPOLIS 0 and 3 is an Equity-approved showcase

** and also **

hobocardfront

directed by Ian W. Hill









Friday, August 24
Saturday, August 25

at 8.00 pm, and
Saturday, August 25
at 4.00 pm

Bug Blowmonkey loves music. Bug Blowmonkey loves a woman. Bug Blowmonkey loves cocaine. Two of these things are good for him, but the other one is messing him up. Bad. Wanna take a guess which one? Bug knows the blow is taking him down a dark path, but can't quit it on his own. Luckily, he has a spirit guide to help him out of his hole, and towards the "light" he seeks: Marvin Gaye.

Marc Spitz's The Hobo Got Too High is an hour of sex, drugs, rock and roll, romance, nonsequiturs, vast numbers of curse words, retractable penises, and an appraisal of Diane Lane's breasts. All for a sawbuck. You may not see better value for your theatrical dollar anytime soon.









more information here: http://www.bricktheater.com/gemini/hobo.html or http://collisionwork.livejournal.com/94290.html

tickets: http://www.theatermania.com/content/show.cfm/show/135640

Ian W. Hill/Gemini CollisionWorks online:

blog: http://collisionwork.livejournal.com
images: http://www.flickr.com/photos/geminicollisionworks/
info: http://www.myspace.com/geminicollisionworks
store: http://www.cafepress.com/collisionworks








collisionwork: (Great Director)
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.

collisionwork: (sign)
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.

collisionwork: (Laura's Angel)
Woke up this morning, went into my normal panic about "What do I have to do on the shows to get them ready RIGHT NOW," and realized that all the shows are now up and running and there's nothing else I have to do for any of them (except replenish programs and the disposable props).

I am now quite happy and am sitting back and just enjoying some music by myself for the first time in weeks.


Last night, we gave damned good performances of WGW/WGW (for a quiet, good-sized house) and Hobo Got Too High (for a small, wonderfully-reactive house). Today, I have all three programs of four plays to get through -- Succubus/Slumberland at 4.00 pm, WGW/WGW at 8.00 pm, and Hobo at 10.30 pm. Ah, just like the old NADA days. At least I'm not actually in the second half of each of the first two programs.


And they're all in good shape. Wow.


Come see them, if you were thinking of it, please.

collisionwork: (leland palmer)
Oh, one last thing I forgot . . .


Just wanted to post this Little Nemo panel, which I was determined to use somewhere in the promo stuff for the NECROPOLIS shows.


Berit felt, and I agreed, that it wasn't right as the main image for Slumberland on the card, but when I mentioned how much I REALLY wanted this on the card, she said we could get it on the back somewhere.


But when I got to see the back this morning, it wasn't there. Berit says it just didn't work. I was unhappy at first, but she's right. It doesn't go there. So she said, "put it on the blog." And here it is.


Nemo at the Hands of the Artist

collisionwork: (GCW Seal)
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:


NECROPOLIS Series card 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 . . .

collisionwork: (Great Director)
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:


NECROPOLIS Series card


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.
collisionwork: (GCW Seal)
I just got up to get ready for rehearsal. Berit's been up all night. This will be the way the shifts work in the home for a while.

Berit will stay up all night, I will get up in the morning to work on the shows and she'll go to sleep. Today, we both have to leave for rehearsal in 30 minutes, so when we get back from it at around 3 pm, she'll go to bed and I'll work until midnight or 1 am on the sound design and email blasts.

Then, I'll go to bed and she'll work all night. We've kinda got the pattern down by now, after a few years. It's even more necessary right now, as we have to share the one REALLY GOOD computer in the house - her for the postcard/prop work, me for the sound work.


So last night, Berit pretty much finalized three things while I slept. First, a prop from Marc Spitz's The Hobo Got Too High, which will be printed out on sticker and placed on a real margarine box for the "commercial" scene:


I Don't Understand, It's Not Butter?


Next, and not quite finished, but almost (it needs to be "degraded" a bit), the image for the postcard (and probably some products in the Gemini CollisionWorks store) for NECROPOLIS #0: Kiss Me, Succubus:


Kiss Me, Succubus


And finally, the postcard/t-shirt/etc. image for NECROPOLIS #3: At the Mountains of Slumberland:


At the Mountains of Slumberland


Okay, have to quickly shower and make myself presentable for the actors, and shove more coffee down myself to make myself able to function. More later.

collisionwork: (music listening)
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:
Little Nemo Wakes

for Kiss Me, Succubus:
Une Vierge Chez Les Morts Vivants

for World Gone Wrong/Worth Gun Willed:
World Gone Wrong - Ned and Christina


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 . . .
collisionwork: (GCW Seal)
The Brick Theater, Inc. presents a Gemini CollisionWorks production of


NECROPOLIS #0&3:
Kiss Me, Succubus
&
At the Mountains of Slumberland



written, designed and directed by Ian W. Hill


Wednesday, August 8, 15, and 22
Thursday, August 23
Saturday, August 18

and Sunday, August 26 at 8.00 pm
matinees: Saturday, August 11 and Sunday, August 12 at 4.00 pm


Two dreams – a nightmare and a fantasy. But which is which? An adult’s dream of sex, violence and cinema. A child’s dream of other, wondrous worlds, monsters, fantastic machines, and heroes. How do these dreams connect? How do our childhood fantasies form our adult personalities?

Here, two early one-acts in The NECROPOLIS SERIES (a collection of what creator Ian W. Hill calls “dubbed, theatrical dream-elegies for dead or dying art forms of the 20th Century”) are being brought back and performed in repertory with the acclaimed two-part film noir pastiche NECROPOLIS #1&2: World Gone Wrong/Worth Gun Willed.

In Kiss Me, Succubus, a group of indolent, rich, decadent (yet bored) 1960s jet-setters encounter a group of what they believe to be porn movie actors at a party and invite them home, thinking they will provide at least an evening’s amusement. Instead, their guests prove to have a far more horrible, supernatural intent in mind, and the hosts are soon trapped and fighting for their lives in a strange, hallucinatory world of sex, violence, sexual violence, and word games. Based on the arty 1960s sex-and-horror exploitation films of Jesus Franco, Radley Metzger, Jean Rollin and many others, Kiss Me, Succubus is a tribute to both the over-the-top melodrama and unintentional comedy of those movies, while also attempting to capture the strangeness, visual beauty, and ultimately moving qualities the best of them possess.

At the Mountains of Slumberland features the classic Winsor McCay comic strip character, Little Nemo, who here falls asleep (as usual in the comics) but here finds himself stuck in the universe of H.P. Lovecraft’s horror stories rather than in his usual charming Slumberland. Nemo must make his way through a more nightmarish landscape than usual, with the help of his guide, Randolph Carter, fighting Lovecraft’s dark, squamous gods, The Old Ones, and, ultimately, a surprising human enemy. Performed as a series of comic strip panels, At the Mountains of Slumberland is a study in how dreams affect art, and how art affects dreams.

As with all productions in the NECROPOLIS series, these two shows are primarily made up of collaged text from the original source materials and are performed “dubbed,” with all dialogue, sound effects, and music prerecorded and played behind the actors, who enact it as a complex, choreographed movement piece.

The company of NECROPOLIS #0&3 includes Gyda Arber, Peter Bean, Linda Blackstock, Jody Christopherson, Bryan Enk, Stacia French, Ian W. Hill, Amy Liszka, Robert Pinnock, Jessica Savage, Alyssa Simon, Douglas Scott Sorenson, Sammy Tunis, and Art Wallace. NECROPOLIS #0&3 is an Equity-Approved Showcase.


100 minutes – one intermission

collisionwork: (Great Director)
Ah, the fun of deciding to come right off one of the biggest and most tiring projects you've ever done and overload yourself again immediately.


Gemini CollisionWorks (ie; me and Berit) pretty much have August to ourselves at The Brick, so, as mentioned before, I decided to take advantage of that by putting up a whole bunch of shows, namely NECROPOLIS #1&2: World Gone Wrong/Worth Gun Willed, NECROPOLIS #0&3: Kiss Me Succubus/At the Mountains of Slumberland, and The Hobo Got Too High.

Yeah, smart.

I figured as they were all shows I'd done before, and not technical monsters for the most part, no problem. I was also somewhat relying on having more members of the original casts back, for some reason (I only had the vague statements from some people that, yeah, they'd like to do that show again sometime). So there's been more running around to recast than I anticipated. I asked all the original cast members for World Gone Wrong and Hobo, and the ones I still thought would be interested from the other two shows, and wound up with less than half the casts for the NECROPOLIS plays, and three out of four for Hobo.

(having one of the original actors from World Gone Wrong marrying one from Slumberland with many of the other actors from those shows attending the wedding, which is in the middle of our run, or even being in the wedding party I believe, has not helped casting or scheduling either)

So, we sent out a notice on some lists of Glory Bowen's and Edward Einhorn's (thank, guys), and we had auditions these last three days.


MASSIVE SIDELINE HERE: I hate doing auditions. I hate the process, I hate everything about it. So generally I find people I like from within what Scott Walters and others are accurately calling "the tribe" and work with them over and over -- some time soon, when I have a moment (HA!) I should talk about The Tribe process of theatre, which is pretty much the model I've been working in for 11 years now, and how it works (and doesn't). One thing I've realized in seeing the posts about this idea is that the most fruitful tribes I've been a part of, as member or as boss (or, what I think is a more accurate term for this position in a tribe, "catalyst"), have all been based around a physical space - a theatre, a group of theatres, or a neighborhood. When the tribe becomes a single theatre company, it tends to turn in on itself and not work as well -- inbreeding produces defects. My old tribe was the one based around the L.E.S. theatres in general and the NADA theatres specifically (1996-2000), and when those lands grew barren, I and others wandered in the wilderness, foraging, until members of the tribe I had once been the catalyst for found themselves at The Brick, let the rest of us know it was a good home, with many trees and sweet water, and gradually we've brought much of the old tribe back together there, and stronger. Still, auditions are necessary to keep the tribe going - but in doing them, talking to the actors as people not as auditioners, and seeing if their mindset and personality fits the tribe, is as important as how well they can do the part. If so, great, more of us makes us stronger. Anyway . . .


Berit and I were amazed that for the first time in either of our experiences with a somewhat "open call," we didn't have any clunkers. Not a one. Amazing. All good actresses - and I normally have stopped using "actress" as a word distinct from "actor," but there's a point to be made there: I've only seen women thus far, and I still need men. At least three. The ratio of women to men I got from my casting announcement was 30:1. As in only one man actually responded. He wasn't able to make his audition time due to an emergency, and I'm hoping to meet him this afternoon. I have one other man to meet besides that. And, actually, I need one more man on top of that. So, I'm scrambling. What else is new?

But the women are set. I had three women have to drop out of World Gone Wrong in the last few days due to schedule conflicts, but luckily had good people from the auditions to step right in. So, I've asked six women from the auditions to come in and fill seven roles in three of the plays, and asked one man I know if he'd do another two parts. Three of the women, Jody, Olivia, and Sammy, have signed on. Three haven't yet responded. The guy is still thinking about it. I need at least another three men on top of that, and have only two to see. {sigh} Great. I'll make it work.

I haven't emailed the other women I saw to tell them "Sorry, no part for you" yet, as I may need them if one of the people I've asked says no. However, from their emails, I know that some of them have been looking at this blog . . . well, if that's you, you were great, but I asked someone else first, and if they say no, you're in.

(I can't stand saying no to actors who were perfectly good for a part, but someone else was just slightly more perfectly good than them -- oh, it drives me nuts!)


And hip hooray, one more actor, Amy, has just emailed after I typed all the above and accepted the hard-to-cast role of Little Nemo in Slumberland! Well, that makes my day, somewhat.


Amy wants to have a character meeting this afternoon, so I'll try and work that out. When working on this tight a schedule, with pretty much no rehearsals where you can actually get the whole cast together in one place at one time, and very few rehearsals in any case, it's a hugely good idea to have as many individual meetings with the performers where you mostly sit and go over the script line-by-line, moment-by-moment, in great detail.

Yesterday, I spent four hours at The Brick doing this with Jessica Savage, who, like me, is crazy enough to be acting in three of the plays. We talked a lot about Succubus, blocked her scenes in WGW and worked them each a little bit, and then worked her scenes for Hobo in more detail (we blocked that whole show on Saturday with the entire cast, thankfully). Good hard detailed work. And, to my great relief, she was cool about and calmed my anxieties regarding one of the most uncomfortable parts that sometimes comes up as actor-producer-director: saying to an actress you don't know all that well, "Okay, here's the part where we're making out, and later we'll do the part where we're pretending to have sex." Yeah, never comfortable. Having my fiancee in the room taking down blocking may decrease the discomfort however.

Then last night we sat around at Alyssa Simon's talking with her about the world of Succubus and the character of Lucille in WGW. And that was work, and worthwhile.

Today, maybe meet with Amy, definitely meet with Aaron, maybe audition another guy. Tonight, try and pin down the people I've asked who haven't answered. Next two days, get the publicity and AEA materials out, set up character meetings with the other new people and then have them, and find the last cast members.


And in the midst of this, I have to pull together and rehearse the two Suzan Lori-Parks 365 Days/Plays pieces I have going up on Saturday and Sunday. Okay. Better go do that now . . .


So, for those interested (those of The Tribe that read this), here are the casts as they stand for the four plays:


NECROPOLIS #1&2: World Gone Wrong/Worth Gun Willed (after film noir) by Ian W. Hill

Ian W. Hill -- BILL, the Fall Guy, a Private Eye
Art Wallace -- CHARLIE, a Traveling Salesman
Gyda Arber -- DOLORES, the Good Girl, Bill's better half
pending -- RACHEL, a Gal Friday, Bill's secretary
Jessica Savage -- AURORA, a Rich Spoiled Nympho
Stacia French -- CHRISTINA, a Femme Fatale
Danny Bowes -- DOMINICK, a Beatnik Bartender
Olivia Baseman -- IDA, a Blowzy Waitress
Aaron Baker -- STEVE, the Long Arm of the Law
uncast -- ARTHUR, a Doomed Man Who Knows Too Much
Yvonne Roen -- KITTY, a Harpy
Iracel Rivero -- THERESA, a Newspaper Reporter
Alyssa Simon -- LUCILLE, a Faded Spitfire, the entertainer
Christiaan Koop -- INGRID, a Magazine Editor, in charge of information
pending -- WILBUR, a Gunsel
Bryan Enk -- JOHNNY, a Flunky
Roger Nasser -- TINY, a Goon
uncast -- LOUIS, a Torpedo
Sammy Tunis -- BRIDGET, a Moll, an angel in the wreckage
Ken Simon -- THOMAS, the Businessman, a gangster
Adam Swiderski -- NED, the Avenger, Bill's partner and dream-doppelganger, another Private Eye


NECROPOLIS #0&3: Kiss Me, Succubus (after Jess Franco, Radley Metzger, et al.)/At the Mountains of Slumberland (after Winsor McCay and H.P. Lovecraft) by Ian W. Hill

Ian W. Hill -- THE DECADENT GENTLEMAN
Alyssa Simon -- HIS WIFE
Jody Christopherson -- HIS MISTRESS
uncast -- HIS GUEST
Stacia French -- THE COUNTESS (THE SUCCUBUS)
uncast -- HER MANSERVANT
Jessica Savage -- HER PROTEGE (THE VENUS IN FURS)
uncast -- THE INCUBUS


Amy Liszka -- LITTLE NEMO
Peter Bean -- RANDOLPH CARTER
Art Wallace -- CMDR. ALFIE BESTER OF THE FLYING SQUAD and CHORUS
Bryan Enk -- CAPT. NEMO and CHORUS
pending -- PICKMAN and CHORUS
Sammy Tunis -- CHORUS
Gyda Arber -- CHORUS
pending -- CHORUS


The Hobo Got Too High by Marc Spitz


Ian W. Hill -- BUG BLOWMONKEY, a troubled young man
Jessica Savage -- SHELLY, a ghost, and NEW-SHELLY (aka MARTHA), a ray of hope
Rasheed Hinds -- MARVIN GAYE, Marvin Gaye
Roger Nasser -- EVERYONE ELSE, many unpleasant people


With any luck, more soon . . .

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