NYIFF Shows
FringeNYC has put the comlete list of shows on their website. Sarah's show, "4 Minutes to Happy" tops the list - everone credits me for being good at p.r., but I must remember to begin the title of my next play with a digit.

Only 3 show titles begin with the first-person singular pronoun "I". I don't know what the average is. Only recognize one show from Minnesota, one with a most unfortunate title. I won't mention it.

Writers and Their Friends

(click on letter at right to enlarge)

Every two years, the Poets’ and Writers’ league of Greater Cleveland holds an event wherein they honor some twenty-five members of the Cleveland writing community.

I was informed several months ago that I would be one of those chosen this time.

This evening was the performance. It’s an odd event, Toni and I got to attend in 2002 when she was getting her Masters at CSU. Then the theme was "Garden Party". Everyone on stage at the Drury Theatre at the Cleveland Playhouse was wearing light, summery outfits and hats.

The event features Cleveland-area celebrities, from television and radio and print, as well as a few actors, who do dramatic readings of bits of the selected works. The writers themselves have no input on what is read or who reads it or anything else, we are only to show up and watch.

I had to admit was not envious of whoever was going to be reading from my show. I don’t mind the idea of others reading my script out loud, but who would want to? I mean, it’s pretty personal stuff. Toni and I made jokes about who might be asked to read it, jokes I would rather not share publicly, even though they were pretty funny, two glasses of cheap white wine notwithstanding.

The theme for this year, held in the Bolton, was "Funeral". Quite apt, as it turned out, as a good two-thirds of the pieces chosen were about death, including, of course, mine. It was like a big joke, every reader making some smart comment to the bereaved before beginning their piece. It actually worked much better than the garden-thing.

I was surprised to see that the one politician on the roster, Sherrod Brown, U.S. Representative, was going to be reading my piece. And he read it very well, it was quite moving. It is hard for me to assess the experience entirely, I don’t even remember if anyone applauded, I was feeling terribly self-conscious, and hated myself for it. He read "Rocking Chair", which is perhaps the most upsetting scene from the play, at least to me.

We spoke briefly after the show. He checked to see if we live in his district (we don’t) and I got to tell him I am taking this show to the NY Fringe. I need to remember to send him a copy of the entire script, he only got to read this bit.

I have sent in my registration materials – we are off for the Fringe. Something that needed to be done immediately (in addition to getting a money order for a large sum of cash) was to put together a crew for the festival. They like to know who is involved a head of time.

Most importantly, we needed an ACR or Authorized Company Representative. Someone who would be in charge of all communication with the festival. You would think that person would be me, but it must be someone who has nothing to do with running the show itself, when the time comes. Someone who can stand in the house, in case of emergency. Someone to do, in effect, nothing.

Luckily, Brian has signed on for this position, which is great. He got to sit out the MN Fringe, keeping tabs on us using the website and through other means. This time he gets to experience it.

Kelly Elliott has agreed to stage manage. This will be the second NY Fringe show she has SM’ed – she also did so for ANGST:84.

First thoughts on NYC ...
It has been three years since I have even attended the New York Fringe. It has gotten much more out of hand since we were there in 2001. Last year I knew at least two participants, Rik Reppe and Michael Sepesy. Each had a difficult go of it, and a lot of it had to do with the blackout. Man, what a mess, that would have driven me crazy.

But with so many shows, it will be even harder than Minnesota to attract an audience, especially for this show. But it’s a challenge I look forward to. Mostly I am excited at the very idea of performing this piece in New York. Truth is, I first thought of this show coming home from the 2001 festival. Toni’s show had done very well, and I had seen a lot of solo performances, and while we drove my mind wandered and I started making little connections. It would be months before I would begin writing it, but I know it started there.

Part of the show takes place in New York City, of course. And then there is September 11. I have already began re-writing THE FUTURE, it sounds stupid and naïve now, especially performed in the Lower East Side. I watched it on television. Harris saw it from the street, walking a friend’s dog – in the Lower East Side.

I am getting a hair ahead of myself, however. I need to make sure I can even make this trip. It feels good to know I made the cut, even if it is a very large cut. And I discovered today that Sarah Morton is going, too. The Stillbirth show and the Depression show. We need to be sure to tag-team promote our gigs, we’re going to need all the help we can get.

Oh shit. I got into the New York Fringe!!! Oh shit!