Showing posts with label tech. Show all posts
Showing posts with label tech. Show all posts

Sunday, June 10, 2007

Day Three: Carlisle to London - Macking on the Dead

Last night Z. & O. treated us to their own rendition of To My Brother Russell, Whom I Slept With. Blame jet-lag if you like, it was irritating.

The performance at St. Cuthbert's couldn't have gone smoother. Technical considerations can be such a headache, we do not have a large operation and to make this work, every venue agreed to provide everything except me and Kelly and a disk full of cues. The set has to be cobbled together at every site, and they have to be sure to have PowerPoint capabilities.

Since the beginning, every site has needed to provide their own rocking chair, even if I bring everything else. As a result, it's always exciting to see what the chair is going to look like. Carlisle set the record for "Shortest Rocking Chair Ever," but it sure was cute.

Friday my biggest concern was the screen - the projector was no problem but there was no blank wall to cast them on. Libby tried very hard to find one and came up short. I was also concerned that the light fixtures, electric candelabras, were too dim. Lots of bulbs at the "stage" end of the room were burned out.

Well. Night of, Libby arrives with her husband Ian and sister Sue and co-group member Angela. Toni was also on hand and between them and Kelly and I, figured out every concern in short order (including dinner, which I always forget to eat on performance nights.) The room was set up with about thirty chairs, they did succeed in finding the only screen in Cubria so we had that to work with, and Ian "pinched" the lights from the fixtures in the back of the room to fill out those in the front.

There were something short of thirty people in attendance. I was feeling surprisingly relaxed in my delivery (Kelly said she could tell - whenever I am comfortable I "mess up" a lot of lines, but f*ck her, she's just the f*cking stage manager, what does she know. F*ck.) and I felt confident delivering some of my alterations to the "British" text.

I still feel stupid saying, "ice lollies" however.

Toni joined me for the discussion after, and we met some lovely people over tea and cake following that. I had neglected to ask our contact about her own experience - I sometimes need to remember, when dealing with bereavement groups (as opposed to, say, medical institutions) that many of the people I am working with have also lost children. And even when I do, well, I guess I wait for them to bring it up, shame on me.

Libby and Ian lost a boy named Kiran just shy of one year ago. I had a long talk with Ian about the boy, and about the way he has dealt with it. Saying our good-byes I wished Libby a good day on the 28th and that's when the tears started. I felt bad, the way people do, for "bringing it up," which is ridiculous when you think about what I have been doing for the past six years. It also goes to show how ingrained these reactions are.

St. Cuthbert's is a great little church. The sides are lined with old tombstones that, for all appearances, were uprooted from the field next to the building. It's a nice, open space, walled-in. The entire time we were there, all evening, there were young people lying about, eating, drinking, making out, on that space.

I thought it was odd, that they had moved the stones, to make that field. "Why?" Toni asked.

So many of the stones included references to babies that died in infancy. I heard Philip Roth on Terri Gross last week, talking about his book "Everyman." The subject was cemeteries, and he noted there how many stones were for children in the old days, and that you don't see that much anymore, because it isn't as much of a problem. I like Philip Roth, but he's been around too long to be that dumb.

Tuesday, August 17, 2004

Notes from the Fringe: Day Four

Sporting my new FringeNYC cap.
What's On David's iPod?
Brand New Colony
Postal Service - "Give Up"
(A long distance dedication, going out to the one I love. Awwwww yeah.)

It feels as though we have been here forever. And yet, only today has the Fringe truly begun for us.

It was a good morning. yesterday was depressing. Yes, it was good that I stayed home. I needed the rest ... and today was not without its additional stress. 

But I felt like I was missing the party. Brian returned late last night to report he had seen two awesome shows. Meanwhile, I had discovered, much to my horror, that when I eat alone ... I talk to myself.

Okay, okay, let's move on. This morning I ran the reservoir. Me and a million others, it was liberating, actually engaging in exercise, I don't think I have ever done that in New York. Not just walking, but running. My entire body thanked me.

Kelly our stage manager (SM)
Harris, our General Organization Director (GOD)
Tech Rehearsal

Our tech rehearsal was scheduled for 12:30. We had two and a half hours to run through all of the cues and get everything straight. It's a simple show, this has never been a problem.

Today, it was a problem. I won't say what was the problem ... okay, to be honest, there's some confusion as to exactly what the problem was. 

It was enough to say we put Grundik in the awkward position of having to kick us out at 3 p.m., with a lot of questions in the air as to how it was going to look for our 5:45, premiere performance.

Kelly and I limped back to the Village to check Fringe Central and which shows were sold for the evening, and to relax in a rather baroque cafe, sip tea, and count our blessings as regards to our significant others.

Sunflowers for Calvin. Thank you, sweetheart.
Opening Performance

Brian warned me it would be a small house. And indeed, it was. Every show I have seen at the Fringe so far has attracted a respectable crowd. But I have the show no one sees without being urged to see it by someone who already seen it. You can understand the Catch-22 involved.

The bad news is we only attracted 10. The good news is that half of them were critics. The people who run the Fringe - the people at SpinCycle - are obviously in my corner.

Yes, I was very tense before it began - I kept hitting my head on the ceiling of their subterranean dressing room. But I thought it might be a good show when Grundik, the venue director, introduced it in his somewhat broken manner:

"... The exits, in emergency are there and there ... you can get in shows for free by volunteering ... once again we thank you all for coming ... I hate this."

And then he just walked off the stage, getting a big laugh. I want him to introduce the show like that every single time.

Too hot for the sweater.
I flubbed some lines, and I wonder how the revised Sept. 11 scene goes over with a critical New York audience. But the response was strong, I felt good, relaxed ... and Brain said I did my boy proud. That was probably the sweetest thing he could say.

So. One down.

After we had some celebratory pub food at the White Horse, and then Brian and I dashed off to see the only show we could possibly catch in the vicinity - the boys from Elephant Larry performing their new sketch show, THE PRECINCT. People who know me know how I am not a big fan of improv of sketch humor. 'Cause it's not usually funny. These guys are funny. We laughed a lot.

And now I have a day off. Should I go into the Village, sell my show, pass out flyers? Should I visit the Cloisters, the Met, do laundry? Run, sleep, play?

I don't know. And tomorrow, I think that will be okay.

UPDATE:  Playhouse Square presents the premiere of the video adaptation of "I Hate This (A Play Without the Baby)" by David Hansen, directed by Chennelle Bryant-Harris and performed by James Alexander Rankin, in the Westfield Studio Theatre on Saturday, October 15, 2022.