'Tis the season for going to see more plays. OK, it's true, it's nearly always that season for us, but speed is picking up again, it seems.
Last night, we took in GTCC's production of "Under Milk Wood," Dylan Thomas' poetry-driven view of life in a small Welsh town. We enjoyed the myriad characters, sound effects and vision of the multiple characters making up the town. Kathy had performed in it back in high school days, and it also happened that Lori Koenig, who will direct KLT's "You're A Good Man, Charlie Brown," starting in April, directed this performance. Good job, we thought!
And in the category of confessions to be made, as I always do when there are young people ages 18-30 in something, I sat there with my program making notes on the performances I like. Since the day I finished writing "Conversations in a Cafe," I have watched particularly for the part I figure might be the hardest to fill in the play -- a young woman 20-25 to play "Meredith." My file folder is filling up with programs that have notes on them such as "She could be Meredith!" or "He could be Brad or Josh!" I saw two potential Merediths and one potential Brad in this show. Distracting? Yes, a little bit, but I enjoy it.
Tonight we'll see "Dearly Beloved" at KLT, then we have tickets for "Ghosts" at Triad Stage, shows at Barter Theatre, and just found out yesterday that we'll manage a NYC trip in April and perhaps cram in five Bwy. shows while we're there. Wonderful!!!
Saturday, February 28, 2009
Thursday, February 19, 2009
New stuff, old stuff
I'm nearing the end of my annual writer's retreat to the Outer Banks of N.C., which is really just using a timeshare we bought years back and have been unable to unload on today's incredibly wonderful and active real estate market. But it does allow me a little time to unload, upload and clear the brain, which usually results in at least a little bit of meaningful writing.
I started the week off by deciding to take some thoughts that had been kicking around in my head and, rather than putting them into a new script I had just started, I went back and fit them into "All About Faith," which of course I had thought was finished. I think the new page of dialogue towards the end of scene three, however, improves the set-up for scene four and some "explanation" of my thinking in general, and helping the audience even a little bit is in my opinion a good idea.
And then because of one three-second panning shot in something I was watching, I started writing something altogether new as a potential new play script, and have added to it since. Why? who knows? Creativity is funny. We'll just have to see if it continues to go somewhere.
And as for the other scripts already finished? The waiting, dad blast it, continues.
I started the week off by deciding to take some thoughts that had been kicking around in my head and, rather than putting them into a new script I had just started, I went back and fit them into "All About Faith," which of course I had thought was finished. I think the new page of dialogue towards the end of scene three, however, improves the set-up for scene four and some "explanation" of my thinking in general, and helping the audience even a little bit is in my opinion a good idea.
And then because of one three-second panning shot in something I was watching, I started writing something altogether new as a potential new play script, and have added to it since. Why? who knows? Creativity is funny. We'll just have to see if it continues to go somewhere.
And as for the other scripts already finished? The waiting, dad blast it, continues.
Tuesday, February 10, 2009
And the nominees are ...
I have no doubt made mention of my son, Andy (www.andrewcissna.com), and the fact that he studied lighting design at (now) University of North Carolina School of the Arts in Winston-Salem, graduating in 2006 and heading north to a fellowship at the Kennedy Center in Washington, D.C.
Liking his odds in the theater-heavy atmosphere of the District and nearby Maryland and Virginia, he stayed on, taking a job as the man in charge of the lighting equipment at the Atlas Performing Arts Center and designing, assistant designing and doing electrician work as a freelancer in a variety of theaters.
We have tried hard to see most of his work, particularly that on which he was the lead lighting designer. As such, last fall, we took in a very appealing (if you like that kind of thing) production of George Orwell's "1984," done at the Atlas by the Catalyst Theater Company, which had just moved to that location.
In Washington, the theater world has a set of awards for the region called the Helen Hayes Awards, with a localized level of prestige somewhat parallel to the Tonys at the national level. Imagine our pleasure and surprise to learn that, out of some 170 productions reviewed by Helen Hayes Award judges for the 2008 season, Andy was nominated as one of the six best lighting designs during the season for "1984" (which, he said with no bias, was pretty spectacular). And another nominee was for a show on which Andy worked as assistant. All in all, a pretty good year for our son, and we can't wait to hear how April 13th (awards night) works out!
Liking his odds in the theater-heavy atmosphere of the District and nearby Maryland and Virginia, he stayed on, taking a job as the man in charge of the lighting equipment at the Atlas Performing Arts Center and designing, assistant designing and doing electrician work as a freelancer in a variety of theaters.
We have tried hard to see most of his work, particularly that on which he was the lead lighting designer. As such, last fall, we took in a very appealing (if you like that kind of thing) production of George Orwell's "1984," done at the Atlas by the Catalyst Theater Company, which had just moved to that location.
In Washington, the theater world has a set of awards for the region called the Helen Hayes Awards, with a localized level of prestige somewhat parallel to the Tonys at the national level. Imagine our pleasure and surprise to learn that, out of some 170 productions reviewed by Helen Hayes Award judges for the 2008 season, Andy was nominated as one of the six best lighting designs during the season for "1984" (which, he said with no bias, was pretty spectacular). And another nominee was for a show on which Andy worked as assistant. All in all, a pretty good year for our son, and we can't wait to hear how April 13th (awards night) works out!
Early 2008 Short Plays, Greensboro
I was able to fit in a visit last Thursday night to the black-box stage of the City Arts Center in Greensboro, where twice a year, short plays written by members of the Greensboro Playwrights Forum are produced. This was my third visit, and there is always something interesting going on with one or more of the plays -- the number performed varies from presentation to presentation.
This set of shows had seven scripts by six authors, and a wide-ranging group of actors, some of whom I had seen before. Dick Strohmeier, a KLT regular, was in one of the shows (and did well, I might add), and Randy Morris, who has acted and directed with KLT in addition to others, authored one of the scripts, called "Copyright." In my subjective opinion, it was one of the 3 best in the show, though one must have to be a fan of "dark" drama to like it a lot (I am, but I also know that many theatergoers are not.) It was a two-person show, and particularly well acted by the female actor.
Compared to the past two I have attended, I didn't find quite as much to like in this one, though that was more script-related than acting-related. Though there was one script I might have liked better if one of the actors had projected better and been more articulate.
Nevertheless, esp. as I am trying my hand at some short scripts myself, it was an interesting 1.75 hours in the theater, and well worth the suggested donation of $5.
This set of shows had seven scripts by six authors, and a wide-ranging group of actors, some of whom I had seen before. Dick Strohmeier, a KLT regular, was in one of the shows (and did well, I might add), and Randy Morris, who has acted and directed with KLT in addition to others, authored one of the scripts, called "Copyright." In my subjective opinion, it was one of the 3 best in the show, though one must have to be a fan of "dark" drama to like it a lot (I am, but I also know that many theatergoers are not.) It was a two-person show, and particularly well acted by the female actor.
Compared to the past two I have attended, I didn't find quite as much to like in this one, though that was more script-related than acting-related. Though there was one script I might have liked better if one of the actors had projected better and been more articulate.
Nevertheless, esp. as I am trying my hand at some short scripts myself, it was an interesting 1.75 hours in the theater, and well worth the suggested donation of $5.
Monday, February 2, 2009
Recent shows
We're firing up for another round of playgoing as I await word on a variety of play projects out there in the world, just awaiting a status report.
Recently, we took in "Virtue of Fools," presented as part of the Greensboro Fringe Festival at Open Space, and including Neil Shepherd, Ken Ashford and Cheryl Ann Roberts in the cast. We thought it was quite a mature script for a young woman recently graduated from college, and very much enjoyed the performances even if the audience was, well, compact. In discussion on the way home, we found what we considered to be some holes in the storytelling, but still, it was an interesting night of theater that held our attention. Can't say that about everything I see!
We also took in "Black Pearl Sings!" at Triad Stage Saturday night, and found that to be well-written and performed as well, taking one to a place one did not know particularly well. The point of it was: it had GOOD performances, if one stronger than the other in our opinion. Yet, the vast majority of a fairly large audience stood at the end for an ovation. See diatribe below about standing ovations.
Next on the slate: the short plays at City Stage, also part of the Fringe Festival.
Recently, we took in "Virtue of Fools," presented as part of the Greensboro Fringe Festival at Open Space, and including Neil Shepherd, Ken Ashford and Cheryl Ann Roberts in the cast. We thought it was quite a mature script for a young woman recently graduated from college, and very much enjoyed the performances even if the audience was, well, compact. In discussion on the way home, we found what we considered to be some holes in the storytelling, but still, it was an interesting night of theater that held our attention. Can't say that about everything I see!
We also took in "Black Pearl Sings!" at Triad Stage Saturday night, and found that to be well-written and performed as well, taking one to a place one did not know particularly well. The point of it was: it had GOOD performances, if one stronger than the other in our opinion. Yet, the vast majority of a fairly large audience stood at the end for an ovation. See diatribe below about standing ovations.
Next on the slate: the short plays at City Stage, also part of the Fringe Festival.
On the standing ovation
I do not claim any kind of originality or claim to premiering this thought. I believe, for instance, that the New York Times has written on the subject in recent years. But having once again recently been at a show where it occurred, I am reminded of the temptation to vent some frustration.
If you are a theater-goer or attend other performing arts activities: a standing ovation is SUPPOSED to be reserved for a truly outstanding individual or group performance, particularly in the live theater. And believe me, those opportunities DO occur, and they deserve to be rewarded by a portion or the entire audience rising to their feet and clapping/cheering/dancing or whatever.
Nowadays, that doesn't happen so much. Sadly.
If EVERYONE stands up for EVERY event they attend in the theater, the whole risk/reward system of the potential standing ovation becomes so watered down that performers basically have to show up and not fall off the stage (unless the script requires it) to get the S.O. And that's just not the same. If ANYONE gets a standing ovation, how do performers know if they are truly special?
I encourage you to consider that next time you're in the theater and deciding whether or not to stand up with the rest of 'em. If it was not a truly outstanding collection of performances, don't do it. Just say no. Resist the temptation, even if you're surrounded by standers. Somehow people have to learn that standing ovations are selective, not for every single show. Really! I kid you not.
If you are a theater-goer or attend other performing arts activities: a standing ovation is SUPPOSED to be reserved for a truly outstanding individual or group performance, particularly in the live theater. And believe me, those opportunities DO occur, and they deserve to be rewarded by a portion or the entire audience rising to their feet and clapping/cheering/dancing or whatever.
Nowadays, that doesn't happen so much. Sadly.
If EVERYONE stands up for EVERY event they attend in the theater, the whole risk/reward system of the potential standing ovation becomes so watered down that performers basically have to show up and not fall off the stage (unless the script requires it) to get the S.O. And that's just not the same. If ANYONE gets a standing ovation, how do performers know if they are truly special?
I encourage you to consider that next time you're in the theater and deciding whether or not to stand up with the rest of 'em. If it was not a truly outstanding collection of performances, don't do it. Just say no. Resist the temptation, even if you're surrounded by standers. Somehow people have to learn that standing ovations are selective, not for every single show. Really! I kid you not.
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