After perhaps one-third of the writing of the new (third) play has been put behind me, I now also have a name for it: "The Good Life." Surprisingly to me, I did not find any other plays with this name by searching Samuel French, Dramatists Play and other play publishing services. Go figure.
Anyway, it's about this young couple living the high life in New York City, but it's a little hard to figure out where the money's coming from ... until it all falls apart.
Work continues.
Saturday, May 31, 2008
Friday, May 30, 2008
In good "Company" on TV
What a pleasure on Wednesday night to come across a TV listing for "Great Performances" on PBS, and that they were showing the Broadway revival of "Company," starring Raul Esparza. I had the great good fortune to see the revival production twice when it was in NYC, so it was like nostalgia watching it on TV. But with all the cranes and different angles and close-ups, at times it was like seeing it a third, different time. And for once, the show was run in its entirety with only an intermission break -- not the usual PBS trick of showing the most interesting stuff during a Festival fund drive. Loved it!
Wednesday, May 28, 2008
Anticipation ...
Carly Simon created a great song with so many possible thematic uses when she wrote "Anticipation" back in the '70s. And that's pretty much my theme for this week. While I am carrying on with my work and various projects, the mind is more or less turned towards this coming Sunday afternoon. A group of actors whose work I have enjoyed in the past have agreed to read the script of "All About Faith" out loud for me. I'm chomping at the proverbial bit with anticipation.
Back when I wrote the first play, in the summer of 2006, Kathy and I were eventually able to gather a group in a similar fashion (finding a hole in the schedules of active actors isn't the easiest thing in the world). Those folks were extremely helpful to me -- I can read lines out loud, and give them MY interpretation, but some of the problems of having someone ELSE interpret those same lines can be evened out and sanded off with this kind of private reading.
And that's just what I look forward to happening on Sunday, along with the chance to chat, dine and talk theater with other folks in a casual setting.
Then, I have about a week to sand and touch up the script before sending it north with Andy to see if a theater company in Washington, D.C. might be interested in producing the play, presumably as a world premiere. That would be an exciting moment! (This previous sentence should be interpreted as a vast understatement.)
Meanwhile, the four-month wait will commence, until October 1, to see whether or not the Regional Arts Project Grant comes through to help finance a production of "Conversations in a Cafe." More excitement, should that happen!
And while I'm on the topic, work continues on play #3, still unnamed, but getting closer to a working title, anyway.
The Greensboro Monthly magazine article on Triad Stage and "Bloody Blackbeard" should be hitting the stands any day now as well. A pretty good concentration on the theatrical right at the moment for me. What fun!
Back when I wrote the first play, in the summer of 2006, Kathy and I were eventually able to gather a group in a similar fashion (finding a hole in the schedules of active actors isn't the easiest thing in the world). Those folks were extremely helpful to me -- I can read lines out loud, and give them MY interpretation, but some of the problems of having someone ELSE interpret those same lines can be evened out and sanded off with this kind of private reading.
And that's just what I look forward to happening on Sunday, along with the chance to chat, dine and talk theater with other folks in a casual setting.
Then, I have about a week to sand and touch up the script before sending it north with Andy to see if a theater company in Washington, D.C. might be interested in producing the play, presumably as a world premiere. That would be an exciting moment! (This previous sentence should be interpreted as a vast understatement.)
Meanwhile, the four-month wait will commence, until October 1, to see whether or not the Regional Arts Project Grant comes through to help finance a production of "Conversations in a Cafe." More excitement, should that happen!
And while I'm on the topic, work continues on play #3, still unnamed, but getting closer to a working title, anyway.
The Greensboro Monthly magazine article on Triad Stage and "Bloody Blackbeard" should be hitting the stands any day now as well. A pretty good concentration on the theatrical right at the moment for me. What fun!
Monday, May 26, 2008
Saving the best for last
We wrapped up our Charleston stay for 2008 today (Monday) with a viewing of Spoleto's "Between the Devil and the Deep Blue Sea," perhaps the most inventive fun I've had in a theater for a while, and also caught "Lobby Hero," a Piccolo Spoleto presentation, on Sunday evening. Patched together with Paula West's lovely jazz singing and the amusing duo with a Piccolo "I Live Next to Horses," we saw some really good stuff. The rest left something to be desired in one way or another, but still, 4 for 9 ain't all bad.
We had an uneventful drive home and now back in K'vegas getting ready for the short week ahead. Gotta love it -- Spoleto in Charleston. A fine way to spend a few days if you can.
We had an uneventful drive home and now back in K'vegas getting ready for the short week ahead. Gotta love it -- Spoleto in Charleston. A fine way to spend a few days if you can.
A few personal notes from Charleston
One of the highlights of our Charleston Spoleto visits -- this is our fifth year in a row, started by when our son, Andy, first started working here -- is, of course, getting to visit with Andy. That has not always been possible due to his work schedule, but this year, we sat down with him for a late lunch on Sunday afternoon and then chatted during intermission of the opera, "Amistad," in the space for which he is master electrician. That space is shared with the Chamber Music performances this year, as the historic Dock Street Theatre is down for renovations. Which makes Andy's life more interesting due to the changeovers from the opera setting to the Chamber Music set-up, which takes 2-3 hours each time it happens.
Anyway, it is always fun for us to get the inside story on some of the activities of the festival, and then go to see them first-hand. Such was the case last night, when we saw "Amistad." About which the most I can say fairly is that I believe I have now done my duty by seeing two operas, at least one of which was highly praised. Therefore, I feel I will no longer be hypocritical when I say, I do not like opera. I can say that fairly, based on direct experience, instead of just a general feeling that I would not enjoy it. I will save my $$$$ in the future.
We have also enjoyed, as often is the case, several fine meals in the various Charleston eateries, including Circa 1886 -- very stylish, and our second visit -- MUSE, and Poogan's Porch. Good choices all.
And the sleeping has been good, too. This is our second stay at the King's Courtyard Inn, right near the Market, and this time we literally walk off the courtyard where breakfast is served and into our room. How convenient is that?
Anyway, it is always fun for us to get the inside story on some of the activities of the festival, and then go to see them first-hand. Such was the case last night, when we saw "Amistad." About which the most I can say fairly is that I believe I have now done my duty by seeing two operas, at least one of which was highly praised. Therefore, I feel I will no longer be hypocritical when I say, I do not like opera. I can say that fairly, based on direct experience, instead of just a general feeling that I would not enjoy it. I will save my $$$$ in the future.
We have also enjoyed, as often is the case, several fine meals in the various Charleston eateries, including Circa 1886 -- very stylish, and our second visit -- MUSE, and Poogan's Porch. Good choices all.
And the sleeping has been good, too. This is our second stay at the King's Courtyard Inn, right near the Market, and this time we literally walk off the courtyard where breakfast is served and into our room. How convenient is that?
Saturday, May 24, 2008
Ah, the magic of outdoor jazz
Finally, something we could agree was outstanding. The Wachovia Jazz Series at Spoleto presents, if the weather cooperates, its jazz performers outdoors at the Cistern on the College of Charleston campus. We've enjoyed the performances we've seen here since we first came to Spoleto. Tonight's Paula West presentation was as excellent as the ones we've seen before. What a voice! What a setting! And even though as seems to happen more often these days, there are idiots who will sit there and talk through even the sensitive songs, as if they were still at home in their bleeping living rooms, it was magical, as it often is. Definitely the highlight to this point in the 2008 stay.
So far, so not so good
We've now been in Charleston since 3 p.m. Friday and just returned to our room from the fourth of nine performances we'll catch during the 2008 Spoleto Festival stay. Unlike most of our Spoleto and Piccolo Spoleto marathons past, we haven't really hit a good one yet.
Perhaps it was good that we started with what we hope was the worst, a play called "A Devil Inside." This should in no way denigrate the young actors of College of Charleston who attempted to pull it off, but this may be the worst play I've encountered since "Debunked" at Triad Stage 4-5 years back. Oh, my goodness. I really hated it, and since most of the characters wind up dead at the end, they could have hurried that along and I would have been happy. Dismal.
We then caught some "long-form" improv by a group called the Reckoning, from Chicago, starting at 10 p.m. Maybe I was just tired, but it was merely ho-hum.
Today (Saturday) at noon, we saw "God's Trombones," which told the story of early black preachers and gospel, and how they related the stories of the Bible. It was a good hour and a half show. But it lasted two hours and five minutes.
And finally, we saw "I Live Next Door to Horses," which was sketch comedy by, it turned out, two of the females from the Reckoning troupe. At about 50 minutes in length, so far the best thing we've seen. They were both very versatile, talented, a joy to watch. Fun!
Perhaps it was good that we started with what we hope was the worst, a play called "A Devil Inside." This should in no way denigrate the young actors of College of Charleston who attempted to pull it off, but this may be the worst play I've encountered since "Debunked" at Triad Stage 4-5 years back. Oh, my goodness. I really hated it, and since most of the characters wind up dead at the end, they could have hurried that along and I would have been happy. Dismal.
We then caught some "long-form" improv by a group called the Reckoning, from Chicago, starting at 10 p.m. Maybe I was just tired, but it was merely ho-hum.
Today (Saturday) at noon, we saw "God's Trombones," which told the story of early black preachers and gospel, and how they related the stories of the Bible. It was a good hour and a half show. But it lasted two hours and five minutes.
And finally, we saw "I Live Next Door to Horses," which was sketch comedy by, it turned out, two of the females from the Reckoning troupe. At about 50 minutes in length, so far the best thing we've seen. They were both very versatile, talented, a joy to watch. Fun!
Thursday, May 22, 2008
And off we go ... southeasterly
Ah, it is finally here. Time to leave in the morning for our fifth annual Spoleto Festival marathon show-going in Charleston. If I've counted correctly, we have nine performances of one kind or another between 7:30 Friday night and noon on Monday. Yippee! It's such an orgy of arts events, between Spoleto itself and the equally-intriguing Piccolo Spoleto. Thank goodness our son got a job there and drew us in -- it's his fifth year, and ours, too. And what could be better than an orgy of arts events, in a delightful historic town like Charleston? Reports can be anticipated.
Wednesday, May 21, 2008
Another good KLT day
Tuesday marked another pretty good day for KLT activities. It started with a meeting in the morning that dangled some realistic hope, and ended with a meeting and after-meeting that did the same.
In the morning, the topic was creating a permanent home for KLT, a subject that has been discussed and dangled for over 30 years since the first days when rehearsals were in an abandoned service station and plays were patched-together cardboard sets and whatever lights could be borrowed. KLT has come a long way since then, but while it seems impossible to some, it is my belief that a theater could happen, and maybe even sooner than we might have thought. More on that topic later!
In the evening, the monthly meeting of the newly-expanded play reading committee proved that there are a variety of good minds interested in finding and using the best plays that fit within KLT's definition of their audience. Even in the Triad, there are a lot of theater groups around selecting and presenting plays, and they mostly have and define a niche for themselves. I think we're wise to stay in the vicinity of that niche for the time being. There may come a day when we can afford and dare to undertake something that we might consider "edgy," but the income and the expenses are still a little too close to each other to get too borderline at this moment. Later ....
Nevertheless, a good gathering and, I think, a good cross-representation of the types of persons who make up a KLT audience. All for the best.
In the morning, the topic was creating a permanent home for KLT, a subject that has been discussed and dangled for over 30 years since the first days when rehearsals were in an abandoned service station and plays were patched-together cardboard sets and whatever lights could be borrowed. KLT has come a long way since then, but while it seems impossible to some, it is my belief that a theater could happen, and maybe even sooner than we might have thought. More on that topic later!
In the evening, the monthly meeting of the newly-expanded play reading committee proved that there are a variety of good minds interested in finding and using the best plays that fit within KLT's definition of their audience. Even in the Triad, there are a lot of theater groups around selecting and presenting plays, and they mostly have and define a niche for themselves. I think we're wise to stay in the vicinity of that niche for the time being. There may come a day when we can afford and dare to undertake something that we might consider "edgy," but the income and the expenses are still a little too close to each other to get too borderline at this moment. Later ....
Nevertheless, a good gathering and, I think, a good cross-representation of the types of persons who make up a KLT audience. All for the best.
Monday, May 19, 2008
A little history of past playgoing
My personal involvement behind the scenes with community theatre is a relatively new phenomenon; my undertakings as a novice playwright are newer yet. But I have long been a supporter of and enthusiastic participant in the live theater experience.
I've dredged my memory, and as far as I can recall, the first play that qualified as memorable for me was the production of the musical "The Sound of Music" done by the orchestra and the choir members of my high school in Mt. Lebanon, Pa. when I was a tenth grader.
(We'll set aside the fact that my fourth grade teacher picked two newcomers -- me and Lynn somebody -- to play the King and Queen in a school play at Markham Elementary, made immensely more stressful because the two of us had to kiss on-stage. And oh, yes, I was Francis Scott Key in a patriotic historical play in sixth grade. Later, at church, I got to play Ebenezer Scrooge for two years running.)
I think "Sound of Music" stuck not only because it was a good production, but because though I was a member of the chorus that year, I was forbidden due to the alleged load of homework to participate in the play. I enjoyed it from the audience, but there was probably also that feeling of "I'm supposed to be up there somehow."
Fortunately, my parents lightened up and not only allowed me to get active with a barbershop quartet for junior and senior years, but to be involved with the chorus' "variety show" junior year (the budget only allowed a full-blown musical every two years) -- and then, because the director had always wanted to do "Music Man" and had a built-in quartet, I was on-stage senior year to continue my theatrical education.
After that, however, I have rarely been on-stage. I enjoyed being a member of the "jury" in Gilbert & Sullivan's "Trial by Jury" while attending Allegheny College in Meadville, Pa. But it was my experience when I was drafted to play a bartender in a student's directing project that I learned how little my brain was attuned to the concept of memorizing and repeating lines. Like so many other things in my life (like plumbing, for instance), I have since decided to leave that kind of work to the professionals.
By this time, however, I was sold on attending the theater, and remember several excellent shows at college and immediately after graduation, including "One Flew Over the Cuckoo's Nest" when it was still new. And then, my girlfriend, then fiance, then wife in shows such as "Romeo and Juliet" and "Same Time, Next Year." It was for her birthday one year that we made our first venture into mid-town Manhattan to see our first Broadway show, the original cast of "Annie." In later life, we have been there many a time.
We have seen so many shows since then, and my wife has the large box full of programs to prove it. So I am not going to give an exhaustive list of everything, but will try to hit the highlights -- the most memorable or influential events we've taken in during 30 years of playgoing.
Though we saw many plays during our time in Pittsburgh from 1978 to 1986, and Kathy acted in quite a few as well, two particular shows stick in my mind as being the ones that suggested to me that plays could have a power to unsettle you, challenge you and remind you long afterwards that you had been impacted. One was a Pittsburgh Playhouse presentation of Sam Shepard's "Buried Child," and the other was a much smaller production of Amlin Gray's "How I Got That Story." I like sweet, warm stories or even a well-done dramedy as much as the next guy, but every now and then, one should have the guts to get shaken up.
The list of good-to-great Broadway viewings is long, but given that in high school and college, I was a diehard Eugene O'Neill fan (to the point of writing several plays in the style which were fortunately lost in the sands of time), it should be no surprise that three of my favorites were revival productions of his works.
There's only been one time I can recall in my theater going when I literally cried at the end of a play not so much because of the material in the play itself, but because the production came so close to a long-nurtured vision of how that play might be done on stage. That would be O'Neill's "The Iceman Cometh," which starred Kevin Spacey but possibly had the greatest ensemble of characters I've seen until the recent "August: Osage County" (and New York magazine keeps saying Letts' play is 'what O'Neill would be writing if he was alive today.')
"Iceman" had a great set on a raked stage, actors including Paul Giamatti, Robert Sean Leonard, Tony Danza and the less-known but nonetheless fine Katie Finneran and Tim Pigott-Smith. From top to bottom, it has not been overcome by anything else I've seen ... yet.
Later on, Spacey revived "Moon for the Misbegotten" and brought it from the Old Vic to Broadway, along with the awesome Eve Best as Josie. Once again, wow.
And then there was "Long Day's Journey into Night," which offered Brian Dennehy, Philip Seymour Hoffman, Robert Sean Leonard and the amazing Vanessa Redgrave. Long, intense, and again, meeting up well with my expectations.
Setting aside O'Neill, I have to note several musicals for their impact, even if anyone who knows me would understand that as a general rule, I am not the biggest fan of traditional musicals. And there are certainly some I've seen that I either disliked, was bored by or (in the case of "Phantom of the Opera") were an expensive excuse for a nap. Even my wife, one of the world's greatest musical fans, agreed with me that "Mamma Mia" and "The Fantasticks" made one wish for an easy refund system. Though I enjoyed "Beauty and the Beast" and "The Lion King," I found a little bit of disappointment in "The Producers" and "Spamalot."
But for overall impact, the revival of "Cabaret" that was done at Studio 54 is that rare musical (for me) in which the music makes sense and the story isn't namby-pamby, cloying nonsense that tells you nothing. The stark, scary visual image created for the final moments of this production sticks with me to this day, as even the Emcee becomes one of those undesirables shipped to the ovens of Nazi Germany.
Other fine B'way musicals we've caught include the revival of Sondheim's "Into the Woods," and then the intriguing productions of two other Sondheim's shows, "Sweeney Todd" and "Company." For me, Sondheim has become an acquired taste -- but the idea of making the performers and musicians the same thing puts something new in the mix that I found entertaining.
We've also gotten a kick out of "Avenue Q" and the incredible energy of "Spring Awakening."
But perhaps the most influential play of recent years was "Rent." Seeing it for the first time on Broadway was the closest thing to a rock concert with a story I've ever encountered. Along with "Spring Awakening," I think it is also highly important to the theatre because, more than anything else in recent years, it has drawn the attention and affection of younger people -- without whom live theater is in some serious trouble.
And equally, perhaps the most wildly successful musical since "Rent" has been the immensely fun "Wicked." Though I rarely listen to other musicals, I have lots of cuts from these two soundtracks on my Ipod regularly.
Other Broadway highlights: "The Real Thing" (marking the first time we saw a show that later won Tony Awards); "The Little Dog Laughed"; and "I Am My Own Wife."
We've seen quite a bit in Washington, DC in recent years, especially after Andy moved there in late summer of 2006. I have been especially impressed -- and not just because of the lighting designer -- by both the plays and the productions of the Journeymen Theater company. "After Darwin" at the Church Street Theater, and "Getting Out," across the river in Arlington, made the very most of smallish theaters, in acting, sets and direction. Kudos!
Closer to home, I've already stated that we enjoy our season tickets to Greensboro's Triad Stage. They're not always winners, but they are nearly always well worth seeing. Among my recent favorites there are "Tobacco Road," "Master Harold ... and the Boys," "The Diary of Anne Frank," "The Rainmaker," and their production of "Moon for the Misbegotten." Among others.
We are also blessed with the National Black Theatre Festival, held every two years in Winston-Salem. Among many others, we would probably never have seen Avery Brooks as Paul Robeson in a one-man show, or a powerhouse production of "Topdog/Underdog" by Suzan-Lori Parks, without the NBTF.
The local North Carolina School of the Arts has presented us with a number of wonderful viewing opportunities as well, though none so impactful for me as two by Moises Kaufman: "Gross Indecencies: The Three Trials of Oscar Wilde" (also produced in D.C.) and "The Laramie Project."
And then there was the awesome 50th anniversary production of "West Side Story." Ahhhh ... so special.
There's other theatre groups around, too, such as Theatre Alliance -- often challenging the audience --and Winston-Salem Little Theatre, Open Space in Greensboro and others. Perhaps the most fun event recently among these was the co-production of the musical "The Full Monty." And the most intriguing, Tracy Lett's "Bug" at Theatre Alliance.
Finally, of course, there is the group with whom we are most actively involved, the Kernersville Little Theatre. It is a pleasure to say that it is a rarity to see anything actually agonizing, which is more than some of the other groups we frequent can say. For the budgets and the tools and the all-volunteer "staff," KLT consistently does a fine job of involving community in plays that are worth seeing. Way more times than not, I leave the theater there with a smile on my face.
That being said, my favorite of recent years is the well-written and touching "Grace & Glorie." I so enjoy the intimate space of Korner's Folly each year, and this was perhaps the most pleasing overall production in several years. For me.
I've dredged my memory, and as far as I can recall, the first play that qualified as memorable for me was the production of the musical "The Sound of Music" done by the orchestra and the choir members of my high school in Mt. Lebanon, Pa. when I was a tenth grader.
(We'll set aside the fact that my fourth grade teacher picked two newcomers -- me and Lynn somebody -- to play the King and Queen in a school play at Markham Elementary, made immensely more stressful because the two of us had to kiss on-stage. And oh, yes, I was Francis Scott Key in a patriotic historical play in sixth grade. Later, at church, I got to play Ebenezer Scrooge for two years running.)
I think "Sound of Music" stuck not only because it was a good production, but because though I was a member of the chorus that year, I was forbidden due to the alleged load of homework to participate in the play. I enjoyed it from the audience, but there was probably also that feeling of "I'm supposed to be up there somehow."
Fortunately, my parents lightened up and not only allowed me to get active with a barbershop quartet for junior and senior years, but to be involved with the chorus' "variety show" junior year (the budget only allowed a full-blown musical every two years) -- and then, because the director had always wanted to do "Music Man" and had a built-in quartet, I was on-stage senior year to continue my theatrical education.
After that, however, I have rarely been on-stage. I enjoyed being a member of the "jury" in Gilbert & Sullivan's "Trial by Jury" while attending Allegheny College in Meadville, Pa. But it was my experience when I was drafted to play a bartender in a student's directing project that I learned how little my brain was attuned to the concept of memorizing and repeating lines. Like so many other things in my life (like plumbing, for instance), I have since decided to leave that kind of work to the professionals.
By this time, however, I was sold on attending the theater, and remember several excellent shows at college and immediately after graduation, including "One Flew Over the Cuckoo's Nest" when it was still new. And then, my girlfriend, then fiance, then wife in shows such as "Romeo and Juliet" and "Same Time, Next Year." It was for her birthday one year that we made our first venture into mid-town Manhattan to see our first Broadway show, the original cast of "Annie." In later life, we have been there many a time.
We have seen so many shows since then, and my wife has the large box full of programs to prove it. So I am not going to give an exhaustive list of everything, but will try to hit the highlights -- the most memorable or influential events we've taken in during 30 years of playgoing.
Though we saw many plays during our time in Pittsburgh from 1978 to 1986, and Kathy acted in quite a few as well, two particular shows stick in my mind as being the ones that suggested to me that plays could have a power to unsettle you, challenge you and remind you long afterwards that you had been impacted. One was a Pittsburgh Playhouse presentation of Sam Shepard's "Buried Child," and the other was a much smaller production of Amlin Gray's "How I Got That Story." I like sweet, warm stories or even a well-done dramedy as much as the next guy, but every now and then, one should have the guts to get shaken up.
The list of good-to-great Broadway viewings is long, but given that in high school and college, I was a diehard Eugene O'Neill fan (to the point of writing several plays in the style which were fortunately lost in the sands of time), it should be no surprise that three of my favorites were revival productions of his works.
There's only been one time I can recall in my theater going when I literally cried at the end of a play not so much because of the material in the play itself, but because the production came so close to a long-nurtured vision of how that play might be done on stage. That would be O'Neill's "The Iceman Cometh," which starred Kevin Spacey but possibly had the greatest ensemble of characters I've seen until the recent "August: Osage County" (and New York magazine keeps saying Letts' play is 'what O'Neill would be writing if he was alive today.')
"Iceman" had a great set on a raked stage, actors including Paul Giamatti, Robert Sean Leonard, Tony Danza and the less-known but nonetheless fine Katie Finneran and Tim Pigott-Smith. From top to bottom, it has not been overcome by anything else I've seen ... yet.
Later on, Spacey revived "Moon for the Misbegotten" and brought it from the Old Vic to Broadway, along with the awesome Eve Best as Josie. Once again, wow.
And then there was "Long Day's Journey into Night," which offered Brian Dennehy, Philip Seymour Hoffman, Robert Sean Leonard and the amazing Vanessa Redgrave. Long, intense, and again, meeting up well with my expectations.
Setting aside O'Neill, I have to note several musicals for their impact, even if anyone who knows me would understand that as a general rule, I am not the biggest fan of traditional musicals. And there are certainly some I've seen that I either disliked, was bored by or (in the case of "Phantom of the Opera") were an expensive excuse for a nap. Even my wife, one of the world's greatest musical fans, agreed with me that "Mamma Mia" and "The Fantasticks" made one wish for an easy refund system. Though I enjoyed "Beauty and the Beast" and "The Lion King," I found a little bit of disappointment in "The Producers" and "Spamalot."
But for overall impact, the revival of "Cabaret" that was done at Studio 54 is that rare musical (for me) in which the music makes sense and the story isn't namby-pamby, cloying nonsense that tells you nothing. The stark, scary visual image created for the final moments of this production sticks with me to this day, as even the Emcee becomes one of those undesirables shipped to the ovens of Nazi Germany.
Other fine B'way musicals we've caught include the revival of Sondheim's "Into the Woods," and then the intriguing productions of two other Sondheim's shows, "Sweeney Todd" and "Company." For me, Sondheim has become an acquired taste -- but the idea of making the performers and musicians the same thing puts something new in the mix that I found entertaining.
We've also gotten a kick out of "Avenue Q" and the incredible energy of "Spring Awakening."
But perhaps the most influential play of recent years was "Rent." Seeing it for the first time on Broadway was the closest thing to a rock concert with a story I've ever encountered. Along with "Spring Awakening," I think it is also highly important to the theatre because, more than anything else in recent years, it has drawn the attention and affection of younger people -- without whom live theater is in some serious trouble.
And equally, perhaps the most wildly successful musical since "Rent" has been the immensely fun "Wicked." Though I rarely listen to other musicals, I have lots of cuts from these two soundtracks on my Ipod regularly.
Other Broadway highlights: "The Real Thing" (marking the first time we saw a show that later won Tony Awards); "The Little Dog Laughed"; and "I Am My Own Wife."
We've seen quite a bit in Washington, DC in recent years, especially after Andy moved there in late summer of 2006. I have been especially impressed -- and not just because of the lighting designer -- by both the plays and the productions of the Journeymen Theater company. "After Darwin" at the Church Street Theater, and "Getting Out," across the river in Arlington, made the very most of smallish theaters, in acting, sets and direction. Kudos!
Closer to home, I've already stated that we enjoy our season tickets to Greensboro's Triad Stage. They're not always winners, but they are nearly always well worth seeing. Among my recent favorites there are "Tobacco Road," "Master Harold ... and the Boys," "The Diary of Anne Frank," "The Rainmaker," and their production of "Moon for the Misbegotten." Among others.
We are also blessed with the National Black Theatre Festival, held every two years in Winston-Salem. Among many others, we would probably never have seen Avery Brooks as Paul Robeson in a one-man show, or a powerhouse production of "Topdog/Underdog" by Suzan-Lori Parks, without the NBTF.
The local North Carolina School of the Arts has presented us with a number of wonderful viewing opportunities as well, though none so impactful for me as two by Moises Kaufman: "Gross Indecencies: The Three Trials of Oscar Wilde" (also produced in D.C.) and "The Laramie Project."
And then there was the awesome 50th anniversary production of "West Side Story." Ahhhh ... so special.
There's other theatre groups around, too, such as Theatre Alliance -- often challenging the audience --and Winston-Salem Little Theatre, Open Space in Greensboro and others. Perhaps the most fun event recently among these was the co-production of the musical "The Full Monty." And the most intriguing, Tracy Lett's "Bug" at Theatre Alliance.
Finally, of course, there is the group with whom we are most actively involved, the Kernersville Little Theatre. It is a pleasure to say that it is a rarity to see anything actually agonizing, which is more than some of the other groups we frequent can say. For the budgets and the tools and the all-volunteer "staff," KLT consistently does a fine job of involving community in plays that are worth seeing. Way more times than not, I leave the theater there with a smile on my face.
That being said, my favorite of recent years is the well-written and touching "Grace & Glorie." I so enjoy the intimate space of Korner's Folly each year, and this was perhaps the most pleasing overall production in several years. For me.
Saturday, May 17, 2008
A good KLT day
It takes all kinds to make a community theater work, and Kernersville Little Theatre is no exception. They've been making it work, by hook or by crook, for over 30 years. Sometimes you have to wonder how it's going to happen ... and yet it does. And don't underestimate what it takes: thousands of hours each year, many of them unseen and unknown to most, to celebrate the art of theater and allow many people, some of whom would never tread a stage or run a cable otherwise, to be part of this experience of live entertainment.
Today was a good KLT day in particular. Bev Fry and many other volunteers made the annual KLT Yard Sale happen -- and it made its budget and a little more, thanks to many a donation and lots of volunteer labor at the beginning and the end (plus those who dealt with the buyers from 7 am to 1 pm.). And two other organizations benefited by taking away all the leftovers that weren't sold. It's one of the events like Kernersville Christmas Stocking donations from the Christmas Show: it raises money AND it makes you feel good when it's over, too, because it helps other needy groups at the same time.
And then, on a perfect May afternoon, Cheryl Roberts, Mikey Wiseman, Glenn Travis and others entertained a goodly segment of KLT's eclectic group of individuals, significant others and offspring at the town's Harmon Park with a relatively recent but excellent tradition, a volunteer recognition picnic. It's not only a good social gathering opportunity, it's a well-deserved "thank you" for those folks who put in the hours. For little more reward than the good feeling that comes from helping to make KLT productions happen. Well-earned, I say.
And sitting there in the sun watching the various groups and individuals pass the time in the comaraderie built on and off stage, one realizes that there certainly are all kinds that seem attracted to this thing called live theater. And thank goodness for them all.
Today was a good KLT day in particular. Bev Fry and many other volunteers made the annual KLT Yard Sale happen -- and it made its budget and a little more, thanks to many a donation and lots of volunteer labor at the beginning and the end (plus those who dealt with the buyers from 7 am to 1 pm.). And two other organizations benefited by taking away all the leftovers that weren't sold. It's one of the events like Kernersville Christmas Stocking donations from the Christmas Show: it raises money AND it makes you feel good when it's over, too, because it helps other needy groups at the same time.
And then, on a perfect May afternoon, Cheryl Roberts, Mikey Wiseman, Glenn Travis and others entertained a goodly segment of KLT's eclectic group of individuals, significant others and offspring at the town's Harmon Park with a relatively recent but excellent tradition, a volunteer recognition picnic. It's not only a good social gathering opportunity, it's a well-deserved "thank you" for those folks who put in the hours. For little more reward than the good feeling that comes from helping to make KLT productions happen. Well-earned, I say.
And sitting there in the sun watching the various groups and individuals pass the time in the comaraderie built on and off stage, one realizes that there certainly are all kinds that seem attracted to this thing called live theater. And thank goodness for them all.
The latest bestest productions
As a novice playwright and, with my wife, an enthusiastic theater patron as well, I'm starting this blog to share notes on shows we see and hopefully, eventually, to record progress on the plays I'm writing as well. As of this moment, my first play, written in 2006 ("Conversations in a Cafe") is awaiting word on a possible grant to make its first production possible. I'll hear about that in early October, 2008. My second play, "All About Faith," is nearing completion -- some wonderful area actors are going to read it for me on June 1, after which I hope to wrap its final draft. And my third, as-yet-unnamed, play is partially written. I'm truly enjoying the process, and of course, hope to see them on stage some fine day.
In the meantime, we have been out and about taking in, as we often do, marathon play going events -- most recently, in New York City and in Washington, DC, where our son is a lighting designer. Over the upcoming Memorial Day weekend, we will also undergo our fifth annual Spoleto Festival marathon in Charleston, SC -- started when our son began working there each year while he was still at the North Caroilna School of the Arts.
What have we seen lately that was wonderful?
I would have to say Tracy Letts' "August: Osage County" and Conor McPherson's "The Seafarer" in New York City were both awesome, and as an overall production, Arena Stage's version of Arthur Miller's "A View from the Bridge," at the company's temporary location in Crystal City, Va. impressed us measurably as well. In our own region, we continue to be impressed, show after show, with Greensboro, N.C.'s Triad Stage, most recently viewing "From the Mississippi Delta" there. And a small production of a new play called "ANIMA" by the Doorway Arts Ensemble in D.C. certainly catches the award for most in-your-face show we've seen so far in 2008. Though Barter Theatre's production of "Blackbird" up in Abingdon, Va. comes in at a close second.
So much theatre, so little time ....
In the meantime, we have been out and about taking in, as we often do, marathon play going events -- most recently, in New York City and in Washington, DC, where our son is a lighting designer. Over the upcoming Memorial Day weekend, we will also undergo our fifth annual Spoleto Festival marathon in Charleston, SC -- started when our son began working there each year while he was still at the North Caroilna School of the Arts.
What have we seen lately that was wonderful?
I would have to say Tracy Letts' "August: Osage County" and Conor McPherson's "The Seafarer" in New York City were both awesome, and as an overall production, Arena Stage's version of Arthur Miller's "A View from the Bridge," at the company's temporary location in Crystal City, Va. impressed us measurably as well. In our own region, we continue to be impressed, show after show, with Greensboro, N.C.'s Triad Stage, most recently viewing "From the Mississippi Delta" there. And a small production of a new play called "ANIMA" by the Doorway Arts Ensemble in D.C. certainly catches the award for most in-your-face show we've seen so far in 2008. Though Barter Theatre's production of "Blackbird" up in Abingdon, Va. comes in at a close second.
So much theatre, so little time ....
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