The earlier post about "Margaret Mitchell" was optimistic, but not perhaps optimistic enough. The run went very well indeed, with virtually all of the 10 already-scheduled shows selling out (and TRULY we packed them in for the last two shows, over-maxing the Folly's capacity). Then we were able to add one more show, which had a more-than-half audience that included Duke Ernsberger, one of the two authors. What a blast that was! Most of the audience was way into the show that evening and Thursday evening as well. The audiences in general had a good time regardless of the show day or time.
It was a fun experience to work intimately on the show, to learn a whole lot about lighting and programming the KLT small light board, and surviving load-in and load-out in general. Great experience, great fun watching the show, and of course, a few lessons learned.
Now we will forget about plays for a week or so to prepare for our only son's wedding. Exciting!
Monday, October 5, 2009
Friday, September 18, 2009
Some REAL "playing" with plays
There hasn't been much chance to post lately. In addition to cramming in some shows, Kathy and I have been up to our ears preparing, with a lot of others, for the KLT production of "Don't Cry for Me, Margaret Mitchell" at historic Korner's Folly. It's a very funny show that we've been tied into for some time. We first saw the show at Barter Theatre and highly recommended the script to the KLT playreading group, which also liked it. We had a need for a Folly show in this time slot, and were fortunate not only that others agreed, but we tied down the rights to the show quickly enough to be able to host the North Carolina premiere of the comedy. Neat stuff for KLT!
Then, when it finally came along in time, Kathy volunteered to stage manage -- and eventually we worked together to create the lighting design, and I am operating the board for most of the shows. Last night was the by-invitation preview, a nearly full house -- and by the audience's response, they "got" the show just fine. After all the rehearsal and programming and tech issues, it was a blast to hear people laughing out loud.
Tonight's the opening night, and we already have three of the 10 shows sold out. Seems like the right show at the right time (we all need a laugh!), and having a state premiere is pretty cool, too!
In the (little bit of) spare time during the past few weeks, we also managed to catch "The Great American Trailer Park Musical" at Theatre Alliance -- definitely a hoot and a half, or maybe even three-quarters -- and a thoroughly pleasing production of "Picnic" at Triad Stage. We won't see much OTHER theater before mid-October, but I would guess that we will know most of the lines from "... Margaret Mitchell" by October 4th when it closes!
Then, when it finally came along in time, Kathy volunteered to stage manage -- and eventually we worked together to create the lighting design, and I am operating the board for most of the shows. Last night was the by-invitation preview, a nearly full house -- and by the audience's response, they "got" the show just fine. After all the rehearsal and programming and tech issues, it was a blast to hear people laughing out loud.
Tonight's the opening night, and we already have three of the 10 shows sold out. Seems like the right show at the right time (we all need a laugh!), and having a state premiere is pretty cool, too!
In the (little bit of) spare time during the past few weeks, we also managed to catch "The Great American Trailer Park Musical" at Theatre Alliance -- definitely a hoot and a half, or maybe even three-quarters -- and a thoroughly pleasing production of "Picnic" at Triad Stage. We won't see much OTHER theater before mid-October, but I would guess that we will know most of the lines from "... Margaret Mitchell" by October 4th when it closes!
Friday, August 21, 2009
Visited an icon
In recent years, especially, Steppenwolf Theatre of Chicago has increased its recognition value and rep for quality -- the production of "August: Osage County" that moved to New York, then London, now elsewhere, being a good example.
I traveled for a couple of days to Chicago earlier this week and, though there was not a great deal of theatre being offered in mid-August, I was lucky enough that "Up" was being presented on the main stage at Steppenwolf, and a good friend from college who works there during the week could accompany me.
Interesting story, good set/effects, fine lighting, very nice acting indeed (including in the lead male role the actor who originated the role of "Little Charles" in "August: Osage County," under the same director who handled "August") -- quite a nice night in the theater indeed. But for me, a fan back to his days in the movie "Manhunter," followed by those nine years as Gil Grissom in "CSI," it was a great pleasure to sit a few rows up the aisle from William Petersen, now an ensemble member at Steppenwolf. A very nice added spice to being at the theatre in the first place.
I traveled for a couple of days to Chicago earlier this week and, though there was not a great deal of theatre being offered in mid-August, I was lucky enough that "Up" was being presented on the main stage at Steppenwolf, and a good friend from college who works there during the week could accompany me.
Interesting story, good set/effects, fine lighting, very nice acting indeed (including in the lead male role the actor who originated the role of "Little Charles" in "August: Osage County," under the same director who handled "August") -- quite a nice night in the theater indeed. But for me, a fan back to his days in the movie "Manhunter," followed by those nine years as Gil Grissom in "CSI," it was a great pleasure to sit a few rows up the aisle from William Petersen, now an ensemble member at Steppenwolf. A very nice added spice to being at the theatre in the first place.
Monday, August 10, 2009
Packin' 'em in
It's safe to say that, though now there is something of a lull, we've been continuing a rapid pace of live performances here into August.
After two shows on one weekend in mid-July, we then caught "Dead Man's Cell Phone," Paper Lantern Theatre's first production in Winston-Salem, on a Thursday night. It was a chiefly pleasing script and well-done by the performers -- certainly a production that suggests we should keep our eyes on Paper Lantern!
On the weekend following that performance, we also caught our first live rock concert in a while -- Kenny Loggins and his band, performing at App State in Boone. It was a warmish wait to get into the space, but quite a fun night of good songs and memories. It also wasn't a long trip home, since we were staying in Fleetwood.
We followed Kenny with a play called "Dead City," performed by Rorschach Theatre on the Georgetown University campus in D.C. As is often the case with shows we see in D.C., the lighting designer was our son, Andy. It was a show full of ideas, and most of them paid off pretty well.
The very next evening, we had a fun experience in seeing the live Paul McCartney concert at FedEx Field in Landover, MD. Again, a pretty hot/damp experience getting to and from the stadium by way of the Metro, but the concert itself was again a wonderful sing-along night of nostalgia. For us old folks. And to be polite, they had just about every current theatrical/stage lighting toy you could think of, and they sure used 'em. "Flash and trash," as Andy and his lighting friends and gurus call it. But kind of fun, too!
Most recently, on a Friday evening during the 2009 version of the National Black Theatre Festival, which is held nearby in Winston-Salem, we saw the thought-provoking "Halley's Comet," a one-man show powerfully and pleasingly performed by John Amos. Wow. A fine theatrical experience. I will never understand why, in the so-called City of the Arts, so many white folks who attend other theater tend to skip nearly all NBTF events. It's been that way as long as we've been attending shows during this every-two-years event. Sad. But true.
But now, two actual full weeks off without a show that I know of anyway, while I continue the wait on three different play submissions that are SUPPOSED to be decided by the end of this month. We'll see if that actually happens.
After two shows on one weekend in mid-July, we then caught "Dead Man's Cell Phone," Paper Lantern Theatre's first production in Winston-Salem, on a Thursday night. It was a chiefly pleasing script and well-done by the performers -- certainly a production that suggests we should keep our eyes on Paper Lantern!
On the weekend following that performance, we also caught our first live rock concert in a while -- Kenny Loggins and his band, performing at App State in Boone. It was a warmish wait to get into the space, but quite a fun night of good songs and memories. It also wasn't a long trip home, since we were staying in Fleetwood.
We followed Kenny with a play called "Dead City," performed by Rorschach Theatre on the Georgetown University campus in D.C. As is often the case with shows we see in D.C., the lighting designer was our son, Andy. It was a show full of ideas, and most of them paid off pretty well.
The very next evening, we had a fun experience in seeing the live Paul McCartney concert at FedEx Field in Landover, MD. Again, a pretty hot/damp experience getting to and from the stadium by way of the Metro, but the concert itself was again a wonderful sing-along night of nostalgia. For us old folks. And to be polite, they had just about every current theatrical/stage lighting toy you could think of, and they sure used 'em. "Flash and trash," as Andy and his lighting friends and gurus call it. But kind of fun, too!
Most recently, on a Friday evening during the 2009 version of the National Black Theatre Festival, which is held nearby in Winston-Salem, we saw the thought-provoking "Halley's Comet," a one-man show powerfully and pleasingly performed by John Amos. Wow. A fine theatrical experience. I will never understand why, in the so-called City of the Arts, so many white folks who attend other theater tend to skip nearly all NBTF events. It's been that way as long as we've been attending shows during this every-two-years event. Sad. But true.
But now, two actual full weeks off without a show that I know of anyway, while I continue the wait on three different play submissions that are SUPPOSED to be decided by the end of this month. We'll see if that actually happens.
Monday, July 20, 2009
On the local/regional scene
Close on the heels of returning from CATF, Kathy and I took off for a jaunt to Greenville, SC, to catch The Distracted Globe's production of "Beyond Therapy" by Christopher Durang. We'd never seen the show, or enough Durang period, and former Kernersvillian Kelly Wallace was one of the stars in a fine cast all the way around. It was a nice space and a good production, we felt, and given that all of the characters are chiefly nuts, it was a lot of fun to watch, too. Though I don't highly recommend trying to escape from downtown Greenville on a Saturday night if you only know how to leave using Main Street. Their great success in revitalizing downtown has turned into a traffic mess -- so a qualified success, I would say as an outsider.
From Greenville, we hustled back to Kernersville, and then over to Greensboro and Open Space to take in Richard Dresser's "Rounding Third." I had heard of this show some BEFORE we knew Open Space was doing it, and then -- serendipity -- I saw a poster for it (and for a couple of other Richard Dresser plays) as having been done in 2004 at CATF.
In any case, our friend Ken Ashford was one of the two actors in this show, which was painfully funny for anyone who had ever encountered Little League in any form. Ken and fellow actor Scott Stevens did a great job, and the story line turned out to be a little deeper than I had anticipated at first. An enjoyable afternoon at the theater!
And now, four days without a play to attend. How will I survive?
From Greenville, we hustled back to Kernersville, and then over to Greensboro and Open Space to take in Richard Dresser's "Rounding Third." I had heard of this show some BEFORE we knew Open Space was doing it, and then -- serendipity -- I saw a poster for it (and for a couple of other Richard Dresser plays) as having been done in 2004 at CATF.
In any case, our friend Ken Ashford was one of the two actors in this show, which was painfully funny for anyone who had ever encountered Little League in any form. Ken and fellow actor Scott Stevens did a great job, and the story line turned out to be a little deeper than I had anticipated at first. An enjoyable afternoon at the theater!
And now, four days without a play to attend. How will I survive?
Sunday, July 19, 2009
Contemporary is chiefly all right with me
Midweek, I began my current play-going marathon by heading 5.5 hours northwards to the small town of Shepherdstown, West Virginia. It's way on the eastern edge of the state, one of the collection of old towns in that area such as Harpers Ferry, Martinsburg and only four miles from Shepherdstown but in Maryland, Sharpsburg, near which the tragic Antietam battle was fought during the Civil War.
At Shepherd University, each summer since 1991, the Contemporary American Theater Festival has brought new plays to production on the stages here -- this year, there were five, performed in three different venues. A close friend of ours is the business manager at CATF, which is how I learned of it. In addition to some excellent genealogical research in that area, I was lucky enough to see three of those five shows.
The first show was called "Farrugut North" and, apparently, has already been optioned for a potential movie with George Clooney. The stage version was quite well done, with a chiefly representational set to tell the story of a young campaigner working the presidential campaign in Iowa, dirty tricks, dirty mouths and ultimate disillusionment (and more dirty tricks). Anyone who was paying attention was unlikely to walk away without a deeper cynicism towards the American political process.
The second show was "Fifty Words," referring to the idea that there are probably fifty different words that can be used to reflect "love." The show, which was a bit on the long side for a no-intermission production, was quite well acted by two people, and dissected, almost literally, a marriage in trouble. Thought this is apparently OK or even desirable for this particular contemporary theater festival, this play and the next ended with a fairly ambiguous closing. It's not my favorite thing, but still, I can't take too many points off given the other strengths of this show.
Finally, I saw "Yankee Tavern," the latest completed script by prolific playwright Steven Dietz, whose "Trust" I saw produced in 2006 at Spoleto. This one had a great realistic set of an old-fashioned (and fading) bar and delved into conspiracy theories in the aftermath of 9-11, and some interesting characters. Once again, the ending left some questions which I suspect we were meant to fill in for ourselves. If you really wanted to.
All in all, it was an interesting and entertaining few hours in the theaters up in West Virginia. I'm definitely glad I went.
At Shepherd University, each summer since 1991, the Contemporary American Theater Festival has brought new plays to production on the stages here -- this year, there were five, performed in three different venues. A close friend of ours is the business manager at CATF, which is how I learned of it. In addition to some excellent genealogical research in that area, I was lucky enough to see three of those five shows.
The first show was called "Farrugut North" and, apparently, has already been optioned for a potential movie with George Clooney. The stage version was quite well done, with a chiefly representational set to tell the story of a young campaigner working the presidential campaign in Iowa, dirty tricks, dirty mouths and ultimate disillusionment (and more dirty tricks). Anyone who was paying attention was unlikely to walk away without a deeper cynicism towards the American political process.
The second show was "Fifty Words," referring to the idea that there are probably fifty different words that can be used to reflect "love." The show, which was a bit on the long side for a no-intermission production, was quite well acted by two people, and dissected, almost literally, a marriage in trouble. Thought this is apparently OK or even desirable for this particular contemporary theater festival, this play and the next ended with a fairly ambiguous closing. It's not my favorite thing, but still, I can't take too many points off given the other strengths of this show.
Finally, I saw "Yankee Tavern," the latest completed script by prolific playwright Steven Dietz, whose "Trust" I saw produced in 2006 at Spoleto. This one had a great realistic set of an old-fashioned (and fading) bar and delved into conspiracy theories in the aftermath of 9-11, and some interesting characters. Once again, the ending left some questions which I suspect we were meant to fill in for ourselves. If you really wanted to.
All in all, it was an interesting and entertaining few hours in the theaters up in West Virginia. I'm definitely glad I went.
Monday, July 6, 2009
Short plays can be fun
We've just returned from a long road trip which, while not overwhelmed with playgoing, did include two of the three ten-minute play flights at the Source Festival in Washington, D.C. We caught all three flights (25 plays) last year, but only scheduled two flights (12 of 18 plays offered this year) for this visit due to other obligations. In addition to catching up with family present and future and some good eating, we once again enjoyed most if not all of the offerings. Source solicits scripts from around the world. They got 700 in the first year and 500 for this year's presentation, so you can imagine that they get to pick the best of the best.
They also mine from a great crop of actors each year, and each show gets its own DC-area freelance director. Some are very funny; some are quirky or weird; and several are quite intense, too -- such as one about a young female recruit in the Airborne whose parachute fouls and we learn about her as she falls towards her likely death. As it was last year, a good and inspirational experience.
We have more theater coming up, but I will report on that as it happens.
I also managed to wrap up a ten-minute script called "Progress," and have moved that along to a possible outlet. Meanwhile, on virtually all of the other scripts, I wait.
They also mine from a great crop of actors each year, and each show gets its own DC-area freelance director. Some are very funny; some are quirky or weird; and several are quite intense, too -- such as one about a young female recruit in the Airborne whose parachute fouls and we learn about her as she falls towards her likely death. As it was last year, a good and inspirational experience.
We have more theater coming up, but I will report on that as it happens.
I also managed to wrap up a ten-minute script called "Progress," and have moved that along to a possible outlet. Meanwhile, on virtually all of the other scripts, I wait.
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