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!
Tuesday, February 10, 2009
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.
Monday, January 19, 2009
"Good LIfe" hits the road
As I mentioned in the last post, my actor friends gave "The Good Life" a great reading a week ago, and pummeled/pestered/passed along -- I'm looking for the right verb -- "shared" a number of thoughts about the play's logic and ending. I took some time to assimilate those ideas, then went after the script to see what I could do.
I'm pleased to announce that I think the rework was successful. The last two scenes have undergone a fairly major change, but, I think, for the better. And then after all the touch-ups throughout, I printed it out again, let it sit for two days, then looked it over again last night. All those facelifts have now been incorporated -- and the script is in the e-mail ozone. A good friend of ours has a place she'd like to share it, in case that arts center might want to make it part of their upcoming season. Wow. That would be something.
Anyway, it's back to her for her own review, then we'll push it on to her contact.
In short, more waiting to come!
And I do love waiting. Especially as other places I have scripts, some of which were supposed to have made their selections by now, haven't. Or perhaps they have and simply haven't told those who did NOT get selected. But they haven't posted their choices on their websites, either, durn 'em. And so, as usual ... we wait. Maybe something will surface this week!
If nothing else, another script is "done" and the Steelers won. Things could be worse.
I'm pleased to announce that I think the rework was successful. The last two scenes have undergone a fairly major change, but, I think, for the better. And then after all the touch-ups throughout, I printed it out again, let it sit for two days, then looked it over again last night. All those facelifts have now been incorporated -- and the script is in the e-mail ozone. A good friend of ours has a place she'd like to share it, in case that arts center might want to make it part of their upcoming season. Wow. That would be something.
Anyway, it's back to her for her own review, then we'll push it on to her contact.
In short, more waiting to come!
And I do love waiting. Especially as other places I have scripts, some of which were supposed to have made their selections by now, haven't. Or perhaps they have and simply haven't told those who did NOT get selected. But they haven't posted their choices on their websites, either, durn 'em. And so, as usual ... we wait. Maybe something will surface this week!
If nothing else, another script is "done" and the Steelers won. Things could be worse.
Monday, January 12, 2009
It was a great reading!
I have to say that it is such a pleasure to bask in the post-experience bliss of having hosted, along with my lovely wife, a reading of a new script by actor friends and acquaintances. There was also a lively and informative discussion of the play itself afterwards ("The Good Life," full-length play #3) that offered some great ideas and adjustments that I will make to the script before it gets sent out.
Cheryl, Lee, Ken, Myla, Macon and Tana -- plus my live-in actor, Kathy -- you know who you are, and please know that you're appreciated. It may take me a little while to beat it into submission, but your reading and your reactions will help me to formulate some new thoughts on the fine tuning of the script and, I feel quite certain, make it a better play in the end. Thank you!
And as we are nearing the mid-point of January, I feel reasonably certain that some kind of news, pro or con, from several of the submissions are bound to break just about any time. Fingers are crossed, except, of course, when keyboarding, like right now.
I continue to think (or is it dream?) that 2009 is going to be the year when some of my words are going to spew forth on a stage, here there or somewhere. And I hope that's a good thing!
Cheryl, Lee, Ken, Myla, Macon and Tana -- plus my live-in actor, Kathy -- you know who you are, and please know that you're appreciated. It may take me a little while to beat it into submission, but your reading and your reactions will help me to formulate some new thoughts on the fine tuning of the script and, I feel quite certain, make it a better play in the end. Thank you!
And as we are nearing the mid-point of January, I feel reasonably certain that some kind of news, pro or con, from several of the submissions are bound to break just about any time. Fingers are crossed, except, of course, when keyboarding, like right now.
I continue to think (or is it dream?) that 2009 is going to be the year when some of my words are going to spew forth on a stage, here there or somewhere. And I hope that's a good thing!
Friday, January 2, 2009
Excited about the new year
We have, fairly peacefully, slipped from 2008 -- which I think most folks won't miss -- into 2009. For Kathy and me, it included a first: attending a theatrical performance timed and specifically meant to include a welcoming of the New Year. It was apparently Open Space Cafe Theatre's second year to do so. It was a premiere production of "Miss Gulch Returns," which will return itself for a regular run at the Theatre from January 8-24. Along with a piano player, it stars Macon Shirley in a one-man musical that studies the post-"Wizard of Oz" life of the ornery Miss Gulch of the movie. Fun, cute lyrics, not the easiest music in the world to sing -- we had fun, and they simply stopped the second act for about ten minutes to ring in the year.
For me, now that we've made it to 2009, there should be some information forthcoming over the next few months about the various shows I've written and put out there, starting - hopefully - soon. Further, a group of hardy and hearty friends will be at the house on Jan. 11th to read through "The Good Life" for me. Immediately thereafter, or as soon as I can make final brush-up changes, I have a place to send it for a possible review/possible production, which even if it doesn't pan out, is exciting.
Then some fine day, I need to get back to work on the started-but-a-long-way-from-done full-length and 10-minute play ideas I have floating around. Though I have some paying non-fiction work I must get completed before much will progress on those projects!
Looking forward to a good 2009 of playgoing!
For me, now that we've made it to 2009, there should be some information forthcoming over the next few months about the various shows I've written and put out there, starting - hopefully - soon. Further, a group of hardy and hearty friends will be at the house on Jan. 11th to read through "The Good Life" for me. Immediately thereafter, or as soon as I can make final brush-up changes, I have a place to send it for a possible review/possible production, which even if it doesn't pan out, is exciting.
Then some fine day, I need to get back to work on the started-but-a-long-way-from-done full-length and 10-minute play ideas I have floating around. Though I have some paying non-fiction work I must get completed before much will progress on those projects!
Looking forward to a good 2009 of playgoing!
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