National New Play Network Wine Tasting

Tonight I met Nan from the National New Play Network. I got to chat with her just a bit. She told all of us that by supporting new works that we aren't patrons - we are artists that are influencing the Anerican canon of theatre works that will go on to influence the world. 

She asked me what I did. I told her I was a playwright, and she told me for sure I need to get my work on the new play exchange. For $10 year a playwright can submit their work and Theatres can search by topic, number of actors, length and pick a play from the new play database. She said 5 plays have already been produced from this database. 

I met 3 new playwrights - we all sat at the same table - and they've put their works into the Fringe festival. Tonight was amazing. I'm so lucky. 

A Year of Theatre

March of 2014 was a period of deep reflection on what I wanted, and what was needed to make sure I stayed healthy. I had lived a long time, 13 years, doing what I was supposed to do. Working, many times two jobs. We never had enough money, or enough time. Life was going at a breakneck pace and the things I loved, theatre and writing, were put away as childish hobbies in the pursuit of real life. 

Then real life hits you like a freight train. Over and over I said that I felt as if I were a square peg trying to force myself into a round hole, and if you keep banging it long enough, it will crack. No matter how hard you try to make it work, it won't. You will force and force and you'll just end up miserable. 

At 37 I decided I'd rather be a terrible playwright than a really good (insert anything else). 

In March of 2014 I was very sick, sitting by myself, being asked what would make me happy. What would make me content. What had contributed to the crack of the square peg. I had to go through a series of exercises, painting, drawing and writing what I wanted my life to look like. 

I made a watercolor of Harbach theatre in Knox College in Galesburg, Illinois, I wrote journal entry after journal entry about what I would regret not doing, and I drew a diagram and to-do list on how to go about fixing the cracks. 

I'm not saying mental health is easy, that one can just wave a magic wand and it all go away. There is a lot of work to be done when facing a mental illness. It's real, it's dangerous, and it has to be dealt with. Every day, every minute. Any weapon at your disposal must be utilized. One of my weapons is writing. 

In looking back at this blog, it is a time capsule of what I've done in one year. I've written 4 plays. I've attended more shows this year than I did the past 13. I held play writing workshops. I went on vacation. I got a new job. 

I couldn't have done all these changes without my family's support. I always have house responsibilities, but every spare minute I have is spent writing or attending a theatre production. 

How does it feel to be a terrible playwright? 

Pretty damn amazing. 

Women Playing Hamlet - Part 2

I cannot get over Women Playing Hamlet at The Unicorn. I was at work the other day and I started laughing, and my coworker asked what was going on. I just mentioned I was laughing about the show that I'd seen.

The week before.

This show was everything a theatre production should be. Funny, well executed, a set and costumes that seamlessly worked to convey the entire message. Every actress (yes, all women!) was on point for every minute of the play. The audience was engaged the entire time.

The actresses: Katie Karel, Kathleen Warfel, Cathy Barnett, and Meredith Wolfe were dazzling as they jumped from character to character or from scene to scene. It was breathtaking to watch. 

The men's roles were played by these women, but it was not performed in a caricature fashion. Underneath the humor was a story of heart and an examination choices we must face as artists. Do we go for the difficult choice, to play Hamlet? Or do we go to the sure thing, to act on a daytime Soap?

You do have one easy choice. Whether or not to see this show. You have to go. There are still nights that are 'pay what you can' that are open on the calendar, so there is no excuse.

May your Hamlet handbag fall apart in the wash and your drama teacher drown you in scarves if you miss this show.

Women Playing Hamlet - The Unicorn

I will post a more detailed review tomorrow, but I feel like I'm going to bawl over this play. If you are a woman in theatre you have to see this. This is not optional. 

This play touched on so many struggles that female artists face. This play was hilarious, but it gave a lot of substance to women's roles in theatre and how they are viewed undertaking this role, and the women who've played Hamlet before. The cast was four women, all of whom switched roles (except the lead), and the women played the men's parts. They mentioned Patrick Stewart frequently and Benedict Cumberbatch once. It was like Christmas!! 

I can't get over how within a week I've seen two shows in Kansas City with great roles for women. We really are a lucky town. Go see Black Pearl Sings at The Spinning Tree and then watch Women Playing Hamlet here at the Unicorn. You will see some of the most talented and diverse talent in Kansas City, in addition to being treated to two new plays. This town is amazing. New York ain't got nothing on us. 

 

Jessie Salsbury

Brick Street Theatre

Supporting the Kansas City Theatre Community with

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Spinning Tree - Black Pearl Sings

Don't mind my super professional hi-res program photos. 

Michael and Andy at The Spinning Tree Theatre are so sweet. We made a donation and they asked if they could list us as an actor sponsor. 

It made me feel extremely proud to be able to do this.

This show. There are no words. It's an extremely simple concept, a woman, Susannah Mullally (Vanessa Severo), is a song collector attempting to preserve songs of the south and unknown folk songs. She meets Pearl Johnson (Nedra Dixon) who is in prison for murder. Susannah works on recording Pearl's songs, and the play has a surprising mix of humor, social commentary, and amazing acapella singing. 

I can't begin to describe what an intimate  'little show' this was. Packed in the simple story were themes of inequality, friendship, family, and history. The actors had to give 100% the entire time, and they were exceptional. The set, lighting, and costumes all worked together for an exceptional experience. 

After the show there was an opening night reception. Everyone in this group is just about the sweetest human beings I've seen. Frank Higgins (playwright) and Walter Coppage (director) were at the reception. They were very popular (of course) so I didn't have the chance to talk with the playwright. 

What I wanted to ask him was how do you keep the faith that what you're writing will ever see the light of day? That actors will actually memorize it? I spend every spare moment writing. Silly essays, fanfiction, plays, short stories, screenplays. Every spare minute of every day I write and practice and rewrite. How did Frank Higgins hold onto his story, and keep the faith, so it would see the light of day? That's what I would have asked. 

For now, I will continue to work, and strive to improve my craft. In a few days I will post about playwriting and the process. I'll continue with Brick Street Theatre and our objectives!

Brick Street Theatre

Supporting Kansas City Theatre with

Playwriting Workshops

Fundraising 

Volunteering

Social Media

I'll Eat You Last - A Chat With Sue Mengers - Unicorn Theatre

I honestly thought I was going to die during this show. Being born in 1977, some of the jokes went over my head, but I was extremely tickled by the audience members who are (just a bit) older than me who were dying. This was a raunchy, completely inappropriate show that I watched on 12/23/2014, two days before Christmas. Nothing feels more naughty than watching something completely inappropriate right before Christmas.

Donna Thomason was amazing.

I've been sick, and I have two plays of my own to finish for my women 365 workshop, so this review is brief. Just go watch it. I have to write plays myself, so I gifted my subscription of Baghdad zoo to 2 of my friends for tonight. We'll see how they enjoy that. Check out the calendar and buy yourself some tickets for this weekend: http://boxoffice.printtixusa.com/unicorntheatre/eventcalendar?v=0&i=0&g=0&g2=0&m=12&y=2014

Violet: Spinning Tree Theatre (Just off Broadway Theatre)

Okay, I almost didn't see the show because I began to doubt the Just Off Broadway Theatre actually existed. If you've never been there before, PLEASE read their website directions and follow those. It's under a bridge, through an enchanted forest, somewhere near but not quite under the WWI memorial and the Federal Reserve and the Roasterie.  (Which may or may not be true. I drove in circles and by the time I found it I may have entered a new dimension.)

Once arriving, however, it is a delightfully sweet theatre in a black box. The house was 3/4 full which I was surprised by because the reviews have been very good and it was excellently done. Hopefully, word of mouth will spread. 

I have been impressed by Andy and Michael. (I think I've said this before). They are extremely sweet human beings and are very welcoming. They give hugs and thank yous even though they've only met me a few times, and they take time to greet their patrons. 

As a season ticket holder, when I came in, I had a laminated tag for my own seat that specified it was for "Jessie Salsbury, season ticket holder". Now, these are little things, but they set Theatres apart. It gets the rest of the audience thinking about membership, but it makes the season ticket holder feel like a member of the company, and proud of their membership. 

This, as if said, is the "little theatre that could....and the little theatre that is!" Violet was a layered story, even more poignant that the disfigurement of Violemt isn't evident on her face, but something Lauren Braton and the other actors have to make the audience see with gestures and responses. (I could write a whole review on Ms. Braton's physical presence and work in this production; it's masterful.) Julie Shaw has to communicate the horror of the disfigurement by her dialogue delivery and her response. We see the scar and mashed cheek and crushed nose. "On your imaginary forces work," indeed.

Matthew A. King and Daniel Beeman are a great pair as Flick and Monty as Violet's competing love interests. Their voices are also a sharp contrast. Mr. Beeman has a rich, sweet tenor while Mr. King has what I would call a "clear out the room you can hear that young man sing from across a football field." I did not expect that big of a voice to come out of his mouth: that was amazing. 

Ms. Braton, Mr. King, and Mr. Beeman singing together? They could tour and never be broke another day in their lives. 

The supporting cast was phenomenal. This show is known for the climactic scene with the TV preacher and the choir, and this group lived up to the show. Jake Bartley, I had to cover my face with my scarf. He was so into it, the dancing and waiving his hands, him dancing in this scene and telling Lianna McKenzie before her bring the house down solo to "take your time, girl" was worth the price of admission alone. 

This show is quirky, I wouldn't call it fun, it's thought provoking, and moves you to think the way you view yourself and how others perceive you. The most interesting part to me is the bus scene after Violet mistakenly believes she is healed. No one looks or reacts differently. Is that simply because she believes she is now beautiful and worth looking at? It's a small, understated moment, but maybe one of the most important in the production. 

I have saved up money to donate to a theatre, a tradition I will continue each season. The competition will be random; there were set rules in my mind for who would win the "Brick Street Theatre Company Donation of the Year." Recipients will be Kansas City local theatres, but it could branch out to random ones across the country that I believe deserve their best chance. If you would like to be considered for the 2015-2016 season's award, put a note comment on my blog!

Why did I decide to donate this saved money to the Spinning Tree Theatre? I've observed other local Kansas City Theatres. Some didn't fare so well on my checklist as far as patron services, treatment, and responsiveness. Some were a close second or even a tie. Spinning tree, as far as patron care, went above and beyond and was the clear winner, and since they're new, I wanted to give them my support.

What was the deciding factor on the prize? There was a sign on my seat that said I was a season ticket holder.

(And every time I talk to Andy or Michael they talk to me like I'm a friend. And, of course, they do great theatre.)

So, the donation may be small, but I wanted them to be recognized, and to know that they did win a competition (even though it was a one woman competition with a medium size prize).

It's the little things. 

Who will win the 2015-2016 Prize? I'm not telling you next year's criteria. Keep doing what you do. If I don't know about your theatre, tell me, so I can attend.