Kelly (kellyhills) Sun 14 Oct 01 03:28
I babysat tonight, for the first time in about 12 years. It was... an experiance. But I would imagine it was moreso for the parents, as this was their first night out in several months, and only their second night out without their (2yr old) daughter in almost two years. On my way home, I decided it was too early to be in bed, and detoured to a local club... fun! First time I've been there on my own... intimidating, too. :-) DanW - I like your picture; especially how the angels wings are overlapped, just slightly... -Kelly, who's wondering how to get the smoke out of the plastic she had woven into her hair last night...
Mike Godwin (mnemonic) Sun 14 Oct 01 10:10
Martha, I thought the HBO versio of Mikal's "Shot in the Heart" was pretty good.
Dan Wilson (stagewalker) Sun 14 Oct 01 11:01
Linda, yes the wall got fixed (thank goodness), although last night had it's own share of amusements. Between the blackout shutter (which we didn't have when you came) going on the fritz, the sanity impaired woman who walked onto the set and started going through Peter Painter's phone book before the show, to an audience member who felt it was appropriate to call out comments during the pieces... it was quite the interesting evening. Martha - thank you! I'm so glad you made it. Linda - Sadly, after starting late, having a long intermission, and the fact that the show is 2 1/2 hours long and San Francisco is going through a very warm spell right now.. people crapped out for the Q&A session, so Martha had to deal with the cast and crew peppering her with questions. Kelly - Thank you!
Martha Soukup (soukup) Sun 14 Oct 01 13:19
The crazy woman in the audience: Almost everyone was seated. Full house: the crew was bringing in extra chairs to put in front of the banked seats. A perfectly normal-looking maybe 30-something Asian woman walks in, goes straight to the stage--which is floor level and you sort of cross the corner of while going to the seats--sits down on the bed on the set, pulls the phone book from the night table next to the bed, and starts flipping through it. She was so casual, yet deliberate--no hesitation--that the audience clearly assumed this was how the show started. After a couple of moments someone from the show dashed up and told her that was the set and showed her to a seat. That made the audience look around at each other nervously. A man sitting near her made some remark about if it had been his apartment and someone had just gone and sat on his bed and started going through his phone book-- The woman said, "Oh, is this your apartment?" and I think wanted to know what kind of rent he paid! The stage was laid with a minimum theatrical setting: bed and nightstand on one side, table and two chairs on the other side, with a huge white curtain, the video screen, along the back, and black curtains marking off the sides. Oh, and the _banked rows of seats_ facing that stage.... Finally, a little late, but not too late considering the time it took to bring in the extra seating for the extra-large audience, the show started. The lights went down. "Could somebody turn on the lights?" came the voice from the front row. Lights came on, performance started with a narrator (the salesman from Neil's story) declaiming, and a sentence or two into that she said, "Oh-- it's a show." Much eye contact made from one audience member to another. A minute or two later, as the show progressed, she just got up and left, and everyone breathed easier, and everything else went without a hitch. Back later.
John M. Ford (johnmford) Sun 14 Oct 01 16:43
Audience participation theatre. You can't beat it, because that's assault and battery. The play SINGER contains a performance by a Sixties avant-garde theatre troupe. As it was warming up, Antony Sher sat (in character) on the edge of the stage, bought some malted milk balls and shared them with the front rows. It made some people surprisingly nervous. And for some reason now I'm imagining a dinner-theatre production of TITUS ANDRONICUS. "It's all right -- the younger kid was vegetarian."
Martha Soukup (soukup) Sun 14 Oct 01 17:42
For no reason now I'm concerned Mike might try to stage that show. Later on a couple of different crew people told me the lady was from the soup kitchen program held elsewhere in the church, and also that she has a boyfriend from Venus, or that's what she said, anyway. She didn't look at the prop book stagewalker used for my piece, "Men Are From Mars, Women Are From Venus", or she would have realized her boyfriend was lying to her. (It came to me later, by the way, that that prop book should have been a baseball book, probably one of the Bill James compendiums. But I digress from a digression.) So, the Hearts in Shadow show. It's four short plays, running two and a half hours (with intermission), with an ensemble cast of four women and three men. All use multimedia effects, all take a rather literary approach with a fair amount of narration--in three of the plays, narration by the characters themselves. (So I was surprised to find one of them, Don Nigro's "Scarecrow", was actually written as a stage play, because it contained a similar degree of literary narration to stage action.) The first thing I noticed was that none of the three directors took writing credits in the program, though, as a writer, I thought they should. I suppose that wasn't the first thing anyone but me noticed. (Even "Scarecrow" was abridged, I was told, by the director. And the Chekov piece was mostly based on one Chekov story but wove in a folk tale and other elements--definitely a writing job, I'd say!) I'm thinking this could be a long post if I discuss all four short plays in it, so on to the next rock.
Martha Soukup (soukup) Sun 14 Oct 01 17:43
Actually, can I even go to the next rock? Isn't this topic full?
"Et toi" is French, and so you're a crack muffin. (madman) Sun 14 Oct 01 17:47
I think it is.
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