Kansas City Theatre Season 2014-2015

This is a great article summing up the upcoming KC season:

http://www.kansascity.com/entertainment/performing-arts/article1269746.html

Day 2 in Creede

Day 2 in Creede! Got to spend some time with Kate before her set of shows today. We are outside the Ruth theatre here. 

First show of the day at the Ruth theatre was 'Hope and Gravity' by Michael Hollinger. I'll be seeing Ghost-Writer by the same author in a couple of weeks at the Spinning Tree Theatre in Kansas City. 

There are shows that are created by actors for actors, or shows that highlight technical elements that cannot be divorced from the production.

'Hope and Gravity' is a writer's production. Two of the play's characters are writers, and the engine is the perspective of a writer. I appreciate and love large productions, but what I love about live theatre is the smaller dialogue exchanges that actors realistically volley back and forth. 

Hollinger and Mamet are similar in this way - heartbreaking, believable misses and choices that are wrapped up in small moments that are expanded to bigger themes. Can we take something small to be a sign, or a miracle, even if it's a catastrophe? 

As the author says himself, "Theatre dares to promise that we'll be more interested after sitting in our seats for two hours than we were when we first sat down. So we're all aspiring to engage an audience of fellow human beings, to thrill them, educate them, move them, then release them and send them home, hopefully with a little piece of ourselves inside." 

The set pieces, which had to change to go back and forth in time and place, were impeccably executed. Even though the scenes were cut out of order and referred back on others, it was able to be followed. Mandy Heath and Jacob Welch created a deep and gorgeous lighting design that helped drive realism when it was needed but created a beautiful back glow on the most gorgeous tree set piece. Original music, by Tina Watson and Jake Harbour, became its own character and set the tone the moment the audience entered the space. All of the actors were impeccable, but I was most impressed with John Arp. I didn't realize until afterwards that he played both roles of Marty and Douglas as his physical and vocal range were so varied. I wish I could watch this show at least one more time before we had to leave. 

In true repertory (whiplash style), the evening production, 'The Secret Affairs of Mildred Wild,' was a prop and costume heavy production. At the pre-show talk with the dramaturg, she explained this show was from the "magical realism" genre; a woman uses movies to escape her mundane life. 

The stage manager, Leigh'Ann Andrews, has to be in top form during every show. There are phones ringing, flying rocks, a King Kong hand, a live phone conversation paired with TV background noise, and actors going in and out of trap doors. There were some hiccups in tonight's show - some missed phone ring cues, some forgotten song lyrics - but for the amount of insanity it was well executed. Christy Brandt, 40 year CRT legend, played Helen Wild in the 1976 production of Mildred Wild, and is now reprising her role. What longevity with one company, and how fun to reprise a role years later! 

The show was stolen by Zlatomir Moldovanski, who hammed it up in a fairy dancing girl outfit, a Mammy (Gone With the Wind) outfit, and a sleazy 1970s producer. I would have loved to see more of him in an improv capacity this weekend.

As our theatre weekend vacation comes to a close, we are so grateful we came. Creede Repertory Theatre has a rich history and a bright future; I am sure their 50th season will be a great celebration next year. 

Www.creederep.org

Www.spinningtreetheatre.com

On the Road to Creede Repertory Theatre

Www.creederep.org

My husband and I are in the middle of a trip to see 4 shows at Creede Repertory Theatre in Creede, Colorado. Kate Berry, an actor friend from college, is in three of the four shows. This is a true repertory style theatre performance schedule. (Yes, KC Rep, I'm looking at you.) It is fascinating how similar Creede is to Mt. Carroll, Illinois and how both small towns can hold these absolute jewels of professional Theatres. 

How absolutely lucky and wonderful, especially for the youth of these communities to grow up with live theatre in their backyard (a block from the school.) Now that I've written that, I realize that everything in Creede is about a block from everything else, but it still paints the picture. 

Tonight was closing night of Annie get your Gun and then Boomtown (improv). In reviewing Kate Berry, I'm extremely biased, cause we drove here to see her - but her comedy delivery really was exceptional. She was over the top, but her physical movements weren't so big and flailing that it distracted from what she was communicating. She was perfect. 

It's amazing having a young actor in your head from college and then seeing a professional years later. I kept telling my husband that I had to keep myself from crying even though Kate was playing an extremely funny part. I was just very proud of her and everything she's worked on. I can't wait to see her again tomorrow.

I know more about the technical side- but first impressions are that CRT is run like a well oiled machine. It may be that we are here at the end of the season, but man, the trains run on time. The house is run efficiently, even though we watched staff an actors run from one theatre to the next, from one show to the next. The artistic directors take great pride in their spaces, and they are decorated accordingly and tell the story of who they are and what they stand for as a theatre company.

Annie was a lively and fun production with a lot of moving parts - set pieces, costumes, singing, and dancing. They kept the set simple with the actors moving the pieces themselves and breaking the fourth wall by calling the changes. It looked effortless, and fun, but the backbone was hours of hard work. Well done. 

Emily Van Fleet and Sean Thompson were impeccable as Annie Oakley and Frank Butler. The roles, in the physicality and the singing gymnastics, require the very best and they were up to the task. They had to to tread a fine line of being expressive and funny without being caricatures, which is always the challenge in musical theatre. 

Ann Pittman was another actor, Winnie Tate and others, that caught my attention as a younger actor that was able to sparkle in a supporting role. I will be interested to see the range she can provide in other characters as she grows in her craft. 

After a delightful showing of Annie, many of the cast went to perform an improv show, Boomtown, at the Ruth. Caitlin Wise, is a bundle of energy that bounced from part to part. She came across as a little scary when she played the part of the internet at one point. Jessica Jackson was absolutely insane - black garbage bags over casts, really? John Diantonio was on this kick about murdering birds, which was frightenly hilarious. 

At times, the actors just looked exhausted watching one another in the sketches (one may have dozed off, I won't tell) but they put on a great improv after most of them were in two shows of Annie Get Your Gun earlier. It may be the mom in me, but that may be a bit much! Or, actors are a little bit more insane than the rest of us? Or both. 

Can't wait for tomorrow!

Creating our own theatre company

We are moving forward with two Saturdays of play reading and workshopping, and then we will move into more formal rehearsals. We are going to investigate creating a non profit association for our theatre company, but we need to meet some lawyers to get advice on how to create that. I don't think we will buy our own space; but renting should work for the time being. 

Starlight, Spinning Tree, Master's Degree

My writing has somewhat stalled.

On a great note, since I'm a student, I was able to purchase "Final Draft" playwriting software at a significant discount. The playwrights on "Cry Havoc Podcast" mention using that program, instead of Word, and I can tell it will be much better. You can track characters and arcs and replace character names more easily. I am not looking forward to transferring my current works to that program, but I will tackle that task another time.

I was in my kitchen the other day and I decided, above all things, I would rather be a terrible playwright rather than be a really good anything else. I've got to create balance - with a young child, work that does have to pay the bills, family obligations - but in that space I spend a lot of time daydreaming of rewrites and ideas I've had for years.

My Master's degree is done the middle of December. In the meantime, I'm submitting the play I've completed, as far as I can, to workshops and theatres that accept new works. I am attending theatre as often as possible. On September 4th I am going with two girlfriends to see "Ghost Writer" - at the Spinning Tree Theatre - a Theatre I have not attended nor reviewed before. This should be a good time. I've attended Starlight this summer with one of my best girlfriends, and that has been a good contrast to the smaller, local theatre shows I've been attending.

 I will continue to write in my spare time, but my pursuit of producing my own work and finding spaces to rent and create will most likely need to wait until December, especially since I have just taken a new job that is taking more time than I expected. It's my goal, my objective, to be a playwright, even if I am the worst one you've ever heard, but my goal is still there. I am plugging away towards my goal, even though I am slowed a little bit by the rest of my life, it is a goal that I simply cannot give up. I tried to leave the theatre for years and it made me ill. I cannot be a square peg banging myself into a round hole; it will crack me again and that cannot happen. I just need to keep the balance to keep myself well and healthy.

With my health, the strange thing about being bipolar is that when I forget my medication I feel as if I can conquer the world, and I get very excited about what I write, and what I'm doing, and I am completely singular in my obsession. I annoy myself. However, listening to other artists, I hear the same excitement and singular drive and obsession in their voices. I have talked to my therapist about this - that I am not sure if in these moments I am really manic, or am I just happy because I have been unhappy for so long? Does happiness feel like mania because I've been stuffing my feelings for years and telling myself I shouldn't act the way I want to because I need to be an adult and not be creative?

This is a question she and I continue to ponder: is it mania, or am I just happy, and shocked because I've been so unhappy for years? She and I agree that I need to keep balance so I maintain my family throughout this process, and I do not become so obsessed with theatre that I lose sight of everything else, but she and I have both considered that the mania is simply true joy and happiness. It's such a foreign concept that I am assuming it's a manifestation of my mental illness. That is sad, and strange, but yet; I am comforted to listen to other artists who sound and feel the same as me, who are just as obsessed with this strange art that is on the fringes but yet has survived for hundreds, if not thousands, of years. This is comforting, and good therapy.




References & Links:
http://www.cryhavoccompany.org/podcasts/
http://spinningtreetheatre.com/ 
https://www.kcstarlight.com/

Master of the Universe - The Living Room -

http://www.thelivingroomkc.com/

Kyle Hatley has brought a highly imaginative work to life that jumps through time and circumstances surrounding Victor (Rusty Sneary). Victor is haunted by his own mental state, his mother's murder, and his current disgraced service in the United States Army, all tied together with the grief over losing his soul mate, Marie (Grey Williamson) to The War Hero (Jeff Smith). A cast of 16 flows in and out of various characters and representations, and set pieces and actors move in and around the full space of the 3rd floor of The Living Room Theatre. It is a loud, bright, dark, disturbing work that travels down a squiggly line. 

Linnaia McKenzie (Nina Simone) and the band provide an exceptional live musical performance helps carry the production. With the ensemble changing and moving, they provided an anchor, and an indicator, of the play progression. This is an ambitious, heavy work that is exhausting for both the actor and the audience member. It is important to have key figures, such as Linnaia McKenzie's music, helping to pull along the show. 

As a world premiere, it is still going through growing pains. It is an intense, 3 hour show. A rather large group of patrons (6-8) left at intermission because they said they 'already know what's going to happen.' The goal of drama is to keep the audience on their seats, to have them asking 'What next?' This feeling of 'What next?' and excitement was pulling in the second act, especially with The Captain (Charles Fugate) and the recruits. In the first act, at the beginning, we are told everything as an audience and then there is an artistic circle back. Perhaps to drive the drama, look at what is working in Act II and move that style to Act I. 

Also, what scenes can be cut, while still keeping the story?  Keep it moving quickly, but still punctuate it with those sweet scenes with the Astromer (Charles Fugate) and Young Victor (Andrew Stout), and the scenes with Young Victor and Marie as a Girl (Leah Simmons). The more the regular action is quick paced - just like the great scene with all the jump and rolls with the recruits and The Captain - the sweeter the other scenes will be. 

The scene with the water glass and nickel. Why is that in there? If it's important, the audience doesn't understand why, so it needs to be explained. What about cutting down the dress scene and the parade scene? If they are important, let's find out why. Why the scene with every one in the black nightgowns? It was funny, but it shocked us out of the action. 

Also, the audience was confused by the Fortune Teller  (Vanessa Severo). Since it's such a jumpy, insane play, would it be best to just have one muse, Ani? (Vanessa Severo). Again, if they're both important, communicate why. 

This is an important work, and there is so much to see and think about. Since it's a work in progress, there are some items the director and writer can work on to move it to be an even more solid production. It's definitely got a stellar cast, haunting staging, and a gorgeous soundtrack. Now comes the work of paring it down what is essential for the drama to progress. 

The ending, with the kids, was amazing. Don't change that. 

My Living Room Theatre ritual

I've found myself in a ritual when I go to the Living Room Theatre. 

Go early. Go to The Brick and eat a meatloaf sandwich. Work on play arcs and edits.