Friday, December 19, 2008
Likeness Update
So, rehearsals are cruising along. The cast is fantastic and have been working really hard to find the subtleties of this complex play. We've been through about two weeks of rehearsals and we'll be breaking in a few days for the holidays. I'm excited by what I'm seeing and I think the actors are really beginning to sink into their roles. I do think the Christmas break will give the actors a great opportunity to focus on their scripts. Have a great Holiday!
Sunday, November 16, 2008
LIKENESS - What's next...
So that's what's next...It may not be Tahiti, but directing is directing...
For everyone who hasn't heard, I'm directing again. Right after In The Ebb, I got a call about Manhattan Theatre Source's playwriting festival: InGenius. They were looking for directors so I threw my hat in the ring. And, lo and behold, I was chosen to direct and co-produce a full length play called Likeness. Written by David Caudle, www.davidcaudle.org, the play is about a painter and his subject in Colonial Boston. I'll soon be posting details on the GTTP website, but, in the meantime, know that production has begun on the New York debut of this really beautiful, remarkably modern, period piece about the artistic struggle, and truth and beauty, and freedom and revolution, and the lofty ideals upon which a nation, (namely ours) was formed. We will open January 9th for an 8 performance run and whenever I have time I will post updates on the process here.
For everyone who hasn't heard, I'm directing again. Right after In The Ebb, I got a call about Manhattan Theatre Source's playwriting festival: InGenius. They were looking for directors so I threw my hat in the ring. And, lo and behold, I was chosen to direct and co-produce a full length play called Likeness. Written by David Caudle, www.davidcaudle.org, the play is about a painter and his subject in Colonial Boston. I'll soon be posting details on the GTTP website, but, in the meantime, know that production has begun on the New York debut of this really beautiful, remarkably modern, period piece about the artistic struggle, and truth and beauty, and freedom and revolution, and the lofty ideals upon which a nation, (namely ours) was formed. We will open January 9th for an 8 performance run and whenever I have time I will post updates on the process here.
Thursday, October 30, 2008
The Party's Over...for now
So the show is over. I'm sorry it's taken me so long to post my "post mortem" (for lack of a better term), but I went through a bit of after show depression and only recently came out of it.
As many of you know, I had some VERY grand intentions about this blog. I intended to post at least once a week (if not more) during the rehearsals to really give that "inside view" of the process. But, during rehearsals things got a little crazy and there wasn't an opportunity to sleep much (let alone post regular reports about the show). So here I am, almost a month after the show has closed and there have been no regular reports. I'll try to fill everyone in...
There's this great exchange in the movie SHAKESPEARE IN LOVE that totally sums up my experiences on IN THE EBB:
HENSLOWE: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.
FENNYMAN: So what do we do?
HENSLOWE: Nothing. Strangely enough, it all turns out well.
FENNYMAN: How?
HENSLOWE: I don't know. It's a mystery.
There were many times during this process when it truly felt like insurmountable obstacles on the road to imminent disaster. I mean, it's not brain surgery, no one's life was at stake or anything (of course that fact may be the reason I chose directing instead of doctoring - I don't mind some pressure but I don't do well with the "this dude's life depends on your actions" kind of pressure – but I digress).
No, no one’s life was at stake but as far as the success of the production was concerned (the success of the launch production for my own theater company that I created from nothing and that I hope will one day pay my bills) the path to that success really did feel like a condition of insurmountable obstacles on the road to imminent disaster.
We had set issues and scheduling issues and lighting issues and, of course, money issues. We had no running crew so I sort of had to wear that hat, except for the days when I dragged the fiance and the friends into various crew positions. And with all of that, with this constant feeling that the show was a house of cards on the verge of collapse, it truly did turn out well...and I have no idea how. I mean, we didn't have a dress rehearsal...no I'm not kidding. The first time we ran through the entire show, without stopping...was opening night. And yes, I worked very hard to make the show work...And yes, I was blessed with an absolutely killer script...And yes, I had what was quite possibly the best cast ever assembled...but despite that, I have no idea how we pulled off such a successful show. (and, tiny sidenote, the fact that I had an absolute blast even when it looked like the entire thing was about to crumble, I guess that’s just evidence that perhaps I have chosen the correct prefession to devote my life to…)
My only regret about the entire show was that there were no reviewers in the audience so except for the satisfied audience members (and I know that that is no small exception) we have no proof of the how well the show went.
...and I guess, in the end, that's one of the reasons I feel I'm not done with IN THE EBB. There's more to be said and there're more people to reach and I feel that the show is still crying out to be seen...at least it feels that way to me.
So, as Rick (Casablanca Rick) says, “maybe not today, maybe not tomorrow, but some day”...I'd like to do it again, hopefully with the same cast, hopefully with more money and hopefully with an even bigger audience.
But, without question the show was a resounding success and a wonderful way to launch the theater company and to honor my uncle for whom the company is named.
...and not to toot my own horn or anything, but damn am I proud of it.
For pictures from the show and for updates when more things happen with it, check out www.intheebb.com.
As many of you know, I had some VERY grand intentions about this blog. I intended to post at least once a week (if not more) during the rehearsals to really give that "inside view" of the process. But, during rehearsals things got a little crazy and there wasn't an opportunity to sleep much (let alone post regular reports about the show). So here I am, almost a month after the show has closed and there have been no regular reports. I'll try to fill everyone in...
There's this great exchange in the movie SHAKESPEARE IN LOVE that totally sums up my experiences on IN THE EBB:
HENSLOWE: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.
FENNYMAN: So what do we do?
HENSLOWE: Nothing. Strangely enough, it all turns out well.
FENNYMAN: How?
HENSLOWE: I don't know. It's a mystery.
There were many times during this process when it truly felt like insurmountable obstacles on the road to imminent disaster. I mean, it's not brain surgery, no one's life was at stake or anything (of course that fact may be the reason I chose directing instead of doctoring - I don't mind some pressure but I don't do well with the "this dude's life depends on your actions" kind of pressure – but I digress).
No, no one’s life was at stake but as far as the success of the production was concerned (the success of the launch production for my own theater company that I created from nothing and that I hope will one day pay my bills) the path to that success really did feel like a condition of insurmountable obstacles on the road to imminent disaster.
We had set issues and scheduling issues and lighting issues and, of course, money issues. We had no running crew so I sort of had to wear that hat, except for the days when I dragged the fiance and the friends into various crew positions. And with all of that, with this constant feeling that the show was a house of cards on the verge of collapse, it truly did turn out well...and I have no idea how. I mean, we didn't have a dress rehearsal...no I'm not kidding. The first time we ran through the entire show, without stopping...was opening night. And yes, I worked very hard to make the show work...And yes, I was blessed with an absolutely killer script...And yes, I had what was quite possibly the best cast ever assembled...but despite that, I have no idea how we pulled off such a successful show. (and, tiny sidenote, the fact that I had an absolute blast even when it looked like the entire thing was about to crumble, I guess that’s just evidence that perhaps I have chosen the correct prefession to devote my life to…)
My only regret about the entire show was that there were no reviewers in the audience so except for the satisfied audience members (and I know that that is no small exception) we have no proof of the how well the show went.
...and I guess, in the end, that's one of the reasons I feel I'm not done with IN THE EBB. There's more to be said and there're more people to reach and I feel that the show is still crying out to be seen...at least it feels that way to me.
So, as Rick (Casablanca Rick) says, “maybe not today, maybe not tomorrow, but some day”...I'd like to do it again, hopefully with the same cast, hopefully with more money and hopefully with an even bigger audience.
But, without question the show was a resounding success and a wonderful way to launch the theater company and to honor my uncle for whom the company is named.
...and not to toot my own horn or anything, but damn am I proud of it.
For pictures from the show and for updates when more things happen with it, check out www.intheebb.com.
Friday, September 26, 2008
Week 2
So we've had 4 performances. It's going very well. We have had good reception from our audiences so far. And I'm really happy with the way the cast and crew are sinking into the show. There are always a couple of things that you wish you could change, but since I've been needing to run crew, I haven't been able to see a lot of the show and so, can't take notes. It's a shame and a lesson I've definitely learned for future productions. Locking in crew will be step one for the next production.
That being said, we are hitting that point in a production where a director passes the reins of the show to the stage manager and cast...it stops belonging to the director and starts belonging to the performers - it's always a hard transitional point for me.
The cast and crew are doing an amazing job and I'm absolutely thrilled with what I have seen of the show. I'm hoping we'll be able to get some press to come and see it and maybe even review it...fingers crossed.
If you haven't seen it yet, get your butt to the Sage Theater - only 5 performances left. Details can be found at www.intheebb.com.
I'll post again soon.
That being said, we are hitting that point in a production where a director passes the reins of the show to the stage manager and cast...it stops belonging to the director and starts belonging to the performers - it's always a hard transitional point for me.
The cast and crew are doing an amazing job and I'm absolutely thrilled with what I have seen of the show. I'm hoping we'll be able to get some press to come and see it and maybe even review it...fingers crossed.
If you haven't seen it yet, get your butt to the Sage Theater - only 5 performances left. Details can be found at www.intheebb.com.
I'll post again soon.
Thursday, September 18, 2008
"Tonight Tonight Won't Be Just Any Night..."
Tonight IN THE EBB will open (the above is supposed to be to the tune of Tonight from West Side Story)...
But, aside from being a fun play on the song, it's also true. In 9.5 hours the debut performance from GTTP, IN THE EBB, will open at The Sage Theater, 711 Seventh Avenue. Come check us out - 9 performances only. Tickets available at www.smarttix.com.
I cannot express how excited I am that after a year and a half...we have a show!!!
I have much to do before curtain so I should run, but I wanted to just give everyone out there in blogland the update.
SEE YOU AT THE SHOW!!!!!
But, aside from being a fun play on the song, it's also true. In 9.5 hours the debut performance from GTTP, IN THE EBB, will open at The Sage Theater, 711 Seventh Avenue. Come check us out - 9 performances only. Tickets available at www.smarttix.com.
I cannot express how excited I am that after a year and a half...we have a show!!!
I have much to do before curtain so I should run, but I wanted to just give everyone out there in blogland the update.
SEE YOU AT THE SHOW!!!!!
Thursday, August 28, 2008
One Week Down
So the first week of rehearsals has concluded.
We basically spent this first week with the text. We've been talking a lot about who these characters are and what drives them...yes, what are their motivations, what are their actions? How do they relate to each other and why? Why do they say what they say? Why do they behave the way they behave? All of that really meaty textual analysis that's where we've been this first week. We've staged a couple of moments and scenes but really right now, it's all about the ditalking. Some of the work we're doing to find these characters has focused on improvs and theater games and some of the discoveries we're making have been downright surprising to me...and I honestly thought I knew these shows inside and out! Man, I love my job...
We've also been fine tuning the scripts themselves. The nightly phone calls between me and Camilla have been really fun as I update her on how the rehearsals are going and what's working and what's not and she scrambles, in the midst of writing her dissertation prospectus, to also rewrite whole scenes from the plays. She's a superwoman, folks...and that ain't no exaggeration!
Next week our focus, as the actors get off book, will be in staging the scenes - really moving them through the events of the play and starting to find not just who these characters are, but how they exist in the worlds we are creating for them on stage. Can. Not. WAIT!
We basically spent this first week with the text. We've been talking a lot about who these characters are and what drives them...yes, what are their motivations, what are their actions? How do they relate to each other and why? Why do they say what they say? Why do they behave the way they behave? All of that really meaty textual analysis that's where we've been this first week. We've staged a couple of moments and scenes but really right now, it's all about the ditalking. Some of the work we're doing to find these characters has focused on improvs and theater games and some of the discoveries we're making have been downright surprising to me...and I honestly thought I knew these shows inside and out! Man, I love my job...
We've also been fine tuning the scripts themselves. The nightly phone calls between me and Camilla have been really fun as I update her on how the rehearsals are going and what's working and what's not and she scrambles, in the midst of writing her dissertation prospectus, to also rewrite whole scenes from the plays. She's a superwoman, folks...and that ain't no exaggeration!
Next week our focus, as the actors get off book, will be in staging the scenes - really moving them through the events of the play and starting to find not just who these characters are, but how they exist in the worlds we are creating for them on stage. Can. Not. WAIT!
Wednesday, August 20, 2008
The August 23rd Fundraiser...or not...
So, I'm sure some of you are wondering: "wasn't there supposed to be a GTTP winetasting this Saturday? Why didn't I get an invitation? Does Jessica think my money isn't good enough for her?"
...I assure you that is not the case.
For those of you who have not heard the saga...I had a place in mind and was having trouble hearing back from the guy in charge, who we'll call Vinnie. I went back and forth and at many points had been assured that the space was booked and that we were good to go (hence my mention of it in the last newsletter) and then, when I finally Vinnie on the phone (and that was VERY difficult to do), I was told (a week and a half before the winetasting) that the venue wasn't available and that they'd have to do the winetasting another time. Pissed doesn't begin to describe it.
So I spent a couple of days composing my angry retort in my head and BFitW (that's best fiance in the world, for those of you not hip to the abbreviations of the kids these days - OK, I made it up but the title still applies), BFitW spent several days making calls and figuring out a way to do the winetasting somewhere else and with some other distributors. The decision we came to was that we're going to push the winetasting to September 20th. The show will be in its opening weekend and, though it would be good to have that money now, I think there will be better attendance at both the show and the fundraiser if they happen in conjunction with each other.
But, the saga does not end there. Two days ago, I get a call from the original venue - this time from a different guy - we'll call him Foley. He asks me if we're on for Saturday. After a bit of spluttering and a few what the hecks (though, I assure you "heck" was not the word racing through my head) I said that I had been told by Vinnie that it wasn't available and so I had had no choice but to cancel it. So Foley tells me, "yeah, we fired Vinnie and the venue was available the whole time."
So, not to sound all valley girl or anything (damn, I'm dating myself with that comment) but I'm totally bummed. It's too late to arrange for the wine tasting this weekend (aside from the fact that I'm not sure I can get the necessary 30 people to the event in 4 days time) I have already scheduled rehearsals for all day on Saturday. And, there's no other weekend before the show opens when we're not rehearsing, or out of town or both. So basically it means I'm out a big fundraiser that was supposed to happen during the rehearsal period. Very frustrating! And I need to talk to Foley and see if there's another time that we can do something.
It's just a big bummer. Not tragic or anything. Not unrecoverable, but seriously a bummer. This is my bummed face:
: (
(yeah, I know. It's not very original, but it totally captures my feeling when I think of what could have been)
...I assure you that is not the case.
For those of you who have not heard the saga...I had a place in mind and was having trouble hearing back from the guy in charge, who we'll call Vinnie. I went back and forth and at many points had been assured that the space was booked and that we were good to go (hence my mention of it in the last newsletter) and then, when I finally Vinnie on the phone (and that was VERY difficult to do), I was told (a week and a half before the winetasting) that the venue wasn't available and that they'd have to do the winetasting another time. Pissed doesn't begin to describe it.
So I spent a couple of days composing my angry retort in my head and BFitW (that's best fiance in the world, for those of you not hip to the abbreviations of the kids these days - OK, I made it up but the title still applies), BFitW spent several days making calls and figuring out a way to do the winetasting somewhere else and with some other distributors. The decision we came to was that we're going to push the winetasting to September 20th. The show will be in its opening weekend and, though it would be good to have that money now, I think there will be better attendance at both the show and the fundraiser if they happen in conjunction with each other.
But, the saga does not end there. Two days ago, I get a call from the original venue - this time from a different guy - we'll call him Foley. He asks me if we're on for Saturday. After a bit of spluttering and a few what the hecks (though, I assure you "heck" was not the word racing through my head) I said that I had been told by Vinnie that it wasn't available and so I had had no choice but to cancel it. So Foley tells me, "yeah, we fired Vinnie and the venue was available the whole time."
So, not to sound all valley girl or anything (damn, I'm dating myself with that comment) but I'm totally bummed. It's too late to arrange for the wine tasting this weekend (aside from the fact that I'm not sure I can get the necessary 30 people to the event in 4 days time) I have already scheduled rehearsals for all day on Saturday. And, there's no other weekend before the show opens when we're not rehearsing, or out of town or both. So basically it means I'm out a big fundraiser that was supposed to happen during the rehearsal period. Very frustrating! And I need to talk to Foley and see if there's another time that we can do something.
It's just a big bummer. Not tragic or anything. Not unrecoverable, but seriously a bummer. This is my bummed face:
: (
(yeah, I know. It's not very original, but it totally captures my feeling when I think of what could have been)
The crew is assembled...
Just a quick post to let everyone know that the main crew positions have been filled and the first full production meeting is Thursday night.
Set Designer - Bibiana is an artist who has worked in all different mediums. She has some fantastic ideas about using projections to establish the settings of the 30 different locations in the play. Considering my love for the most recent production of Sunday In The Park With George which was all projections all the time, this is a match made in heaven. Oh yeah, and she's a sci fi fan.
Lighting/Sound Designer - Jon has done light and sound design all over the city and currently has a standing gig at Lehman College. He has already started thinking "outside the box" which will be particularly important for this show and it's 40 scene transitions (yes I said 40).
Stage Manager/ Property Master - Tiffane has been an actor, director and playwright at Southeastern Louisiana University as well as wearing the stage manager and asm hat on more than a few productions. She is almost as enthusiastic to get started as I am - if that's possible.
The only other crew position I'm looking to fill is the special fx makeup artist who will create (and teach my actress how to apply and remove), the scar she wears in the first act. I have a lead on a couple of possibles, but if you have anyone in mind, send 'em my way!
Set Designer - Bibiana is an artist who has worked in all different mediums. She has some fantastic ideas about using projections to establish the settings of the 30 different locations in the play. Considering my love for the most recent production of Sunday In The Park With George which was all projections all the time, this is a match made in heaven. Oh yeah, and she's a sci fi fan.
Lighting/Sound Designer - Jon has done light and sound design all over the city and currently has a standing gig at Lehman College. He has already started thinking "outside the box" which will be particularly important for this show and it's 40 scene transitions (yes I said 40).
Stage Manager/ Property Master - Tiffane has been an actor, director and playwright at Southeastern Louisiana University as well as wearing the stage manager and asm hat on more than a few productions. She is almost as enthusiastic to get started as I am - if that's possible.
The only other crew position I'm looking to fill is the special fx makeup artist who will create (and teach my actress how to apply and remove), the scar she wears in the first act. I have a lead on a couple of possibles, but if you have anyone in mind, send 'em my way!
...and we have a cast
Hello All,
I've been meaning to post for about a week now - the show is cast and we have an exciting, terrific group of actors.
9 actors. 3 One Acts. 1 evening of fun (actually 9 evenings of fun what with there being 9 performances and all...but, you know what I mean).
In order of appearance, the cast is:
ACTOR A......................................Lena Hurt
ACTOR B......................................Bayla Whitten
ACTOR C......................................Avery Pearson
ACTOR D......................................John Joseph MacDonald
ACTOR E......................................Joe Palermo
ACTOR F......................................Adam Feingold
ACTOR G......................................Rebecca Lovett
ACTOR H......................................Marika Daciuk
ACTOR I.......................................Ashley Fox Linton
Rehearsals have begun and are already going really well.
We are all really enjoying the process of discovery that comes with a new project. And for me, the thrill of finally being able to really work with these scripts - to workshop the plays and discover what they're about and who these people are, to Direct (with a big ol' capital D), well...it's kinda the reason I was put on this Earth! And man, is it FUN!!!
I've been meaning to post for about a week now - the show is cast and we have an exciting, terrific group of actors.
9 actors. 3 One Acts. 1 evening of fun (actually 9 evenings of fun what with there being 9 performances and all...but, you know what I mean).
In order of appearance, the cast is:
ACTOR A......................................Lena Hurt
ACTOR B......................................Bayla Whitten
ACTOR C......................................Avery Pearson
ACTOR D......................................John Joseph MacDonald
ACTOR E......................................Joe Palermo
ACTOR F......................................Adam Feingold
ACTOR G......................................Rebecca Lovett
ACTOR H......................................Marika Daciuk
ACTOR I.......................................Ashley Fox Linton
Rehearsals have begun and are already going really well.
We are all really enjoying the process of discovery that comes with a new project. And for me, the thrill of finally being able to really work with these scripts - to workshop the plays and discover what they're about and who these people are, to Direct (with a big ol' capital D), well...it's kinda the reason I was put on this Earth! And man, is it FUN!!!
Wednesday, August 6, 2008
Quick Update - Auditions
Just a quick update: The first round of auditions happened last night. Another round is scheduled for Saturday. Kat, my casting director, is beYOND amazing. Auditions went well last night and I am VERY excited to finally hear these words, which have lived only in my and Camilla's heads for years, actually coming out of actors mouths. I will keep you all posted when the show is cast!
Friday, August 1, 2008
WE HAVE LIFTOFF!!!
That's right ladies and gents, the production has been scheduled!!!
IN THE EBB will open on September 18th! We have booked performance space at The Sage Theater, in the heart of Times Square - 711 Seventh Avenue. Their website is: www.sagetheater.us. As of right now, the performance dates are September 18, 19, 20, 25, 26, 27, October 2, 3, and 4 (there may be additional shows scheduled later but for now there are 9 performances scheduled). I believe the curtain will be at 7:30pm, but I'll keep everyone posted about that as it gets closer and on the how and where to get tickets. As you may be able to tell from my tone in this post I am ECSTATIC! Just beyond excited (as Little Red would say, "well, excited and scared"). The first round of auditions are scheduled for this Tuesday. Actually, Kat, my spectacular casting director, and I had our first casting meeting last night and it was absolutely thrilling. This is the first time I've ever casted a show with the assistance of a casting director and I've got to say, having someone who knows what they're doing helping you out, is a whole new world compared to what I'm used to. It's been a joy, and we haven't even gotten to the actual casting sessions yet.
I'm now on the look out for my production team. If you have any thoughts on someone who might be interested in Stage Managing, Light Design, and/or Set Design, please send them my way. I'm afraid there's no pay but it could be a really great experience for the right folks.
I think that's everything for now. Keep checking back for updates. I'll try to post regularly and let everyone know how auditions/rehearsals are going.
IN THE EBB will open on September 18th! We have booked performance space at The Sage Theater, in the heart of Times Square - 711 Seventh Avenue. Their website is: www.sagetheater.us. As of right now, the performance dates are September 18, 19, 20, 25, 26, 27, October 2, 3, and 4 (there may be additional shows scheduled later but for now there are 9 performances scheduled). I believe the curtain will be at 7:30pm, but I'll keep everyone posted about that as it gets closer and on the how and where to get tickets. As you may be able to tell from my tone in this post I am ECSTATIC! Just beyond excited (as Little Red would say, "well, excited and scared"). The first round of auditions are scheduled for this Tuesday. Actually, Kat, my spectacular casting director, and I had our first casting meeting last night and it was absolutely thrilling. This is the first time I've ever casted a show with the assistance of a casting director and I've got to say, having someone who knows what they're doing helping you out, is a whole new world compared to what I'm used to. It's been a joy, and we haven't even gotten to the actual casting sessions yet.
I'm now on the look out for my production team. If you have any thoughts on someone who might be interested in Stage Managing, Light Design, and/or Set Design, please send them my way. I'm afraid there's no pay but it could be a really great experience for the right folks.
I think that's everything for now. Keep checking back for updates. I'll try to post regularly and let everyone know how auditions/rehearsals are going.
Saturday, July 5, 2008
The Search for Space
The search for space is seriously underway. Actually, it's been under way for a couple of weeks. I've been calling and emailing and looking at different performance spaces in the hopes of booking the location, settling an opening night date, and forcing the rest of the production to happen from there. It's actually a really big leap of faith for me. I definitely have some money in the bank, don't get me wrong, but I haven't come close to my entire budget. In fact, doing the show right now, I'm not sure how I will afford anything in the budget except the performance space. At the same time, I feel like it has to just happen. Along with the tax issue (I need to spend the money that I've raised this year, or get hit with some SERIOUS taxes), I also feel like it is time to do the damn show. I mean I've been talking about it for a year and a half, it's time to (in the words of Alan Shepard, the first American in space) "light this candle." So lighting it I am attempting to do by finding a space and getting this show on the road, off the ground, you know, making it happen.
The search is going well and I actually have a very good lead on a really great place and I'm keeping my fingers crossed that it will work out. I'm scheduled to sign the contract and put down the deposit on Monday. So, if all goes according to plan, I will hopefully be posting soon with details of the dates of the performance, and the location...
...and what a location it is - right in the middle of Times Square. Talk about the theater district...Hee!!!
More to come soon.
The search is going well and I actually have a very good lead on a really great place and I'm keeping my fingers crossed that it will work out. I'm scheduled to sign the contract and put down the deposit on Monday. So, if all goes according to plan, I will hopefully be posting soon with details of the dates of the performance, and the location...
...and what a location it is - right in the middle of Times Square. Talk about the theater district...Hee!!!
More to come soon.
Sunday, June 8, 2008
Singing the Fundraising Blues
So, I'm planning my first fundraiser and it's not going as well or easily as I had hoped. ...did you know that it costs money to throw a fundraiser? When did things get so complicated and expensive? Basically, I just thought I'd decide to do a fundraiser, set it up, and make loads of money on it. Instead, I need to find a place to hold it, and find a way to afford the place, and make sure that people will come and spend their money, and just, you know, actually organize and hold a fundraiser. So, instead of thinking about how overwhelming it is, I'm trying to do things one step at a time.
Step 1: Decide what type of fundraiser you'd like to hold.
I had a couple of ideas in mind. I know that I'm going to do a winetasting (that's been a given for awhile). I also would like to do a cabaret. I was thinking about doing a selection of Sondheim songs. Or maybe a bunch of songs where women sing men's parts or men sing women's parts. Or maybe both - Sondheim songs where women sing the men's parts and men sing the women's parts...something fun. Another fundraiser I was thinking of doing was a cocktail party, or maybe a staged reading and then I thought I'd do both together. I don't want to do a full staged reading because I don't want to give away the whole show until the production is finished (you may have noticed my avoidance of spoilers), so maybe a cocktail party, after the show is cast, where we show vignettes from the show to give a taste...oh and, since it's a cocktail party, also everyone can get drunk. But, pick one, Jess, and go from there. So first comes the wine tasting.
Step 2: Decide on location.
So a friend of mine, who has been doing the fundraising thing a LOT longer than me, held a fundraising winetasting at this great place, a wine bar in the city. So, when I was at her fundraiser, she introduced me to the man in charge and we talked about me doing my own thing perhaps around July 12th. We exchanged cards with the plan of emailing and speaking the following week.
Step3: Negotiate the deal.
So after some back and forth with the wine guy, I'm hoping for an August 23rd date. It took some wrangling and it still hasn't been settled yet, but I'm optimistic that it will work out. The first date I wanted didn't work because it was too soon and the place wasn't available. Then the second date I wanted I lost to a wedding party. So know I'm putting my money on date #3. Keep your fingers crossed.
Step4: Pay the money.
I believe the next step will be to put a deposit on the space. This will hold the date and allow me to have the actual fundraiser. Keep your fingers crossed for me that the date will be available and that it will all go off without a hitch.
Step5: Decide on the wines.
I'm hoping that once the date is settled, the wine guy and I will sit down and decide what types of wines we'd like to have and sort out the raison d'etre for the fundraising being, you know, a winetasting.
Step6: Send out the invitations.
I'm still trying to decide if I want to do it by evite or if I want to send out real invitations. I think the "real" invitations thing is better but I'm not sure about spending the money on stamps. I am trying to keep costs to a minimum. I think I'm going to go the evite route and have the option for people to prepay before the event for less money than if they just showed up at the tasting on the day. There will probably be a 25-30 person limit and because space is limited so I want to make sure that anyone who wants to do it can come.
Step7: Show up on the day and make lots of money.
Hopefully it will be as simple as showing up on the appointed day and the money just rolling in. Keep your fingers crossed for me.
I do feel that I need to just sort of pull the trigger and get at least one fundraiser under my belt. For as much as I've broken it down into easily manageable steps, I still feel like it's overwhelming and the possibility that people will give me money for something (despite the $4000 in donations I've already received) for nothing in return (or in this case for some wine in return) still seems unlikely. I think it's a feeling, (it all comes back to asking for money from friends and strangers thing), that anyone who is trying to raise money, just has to get over...
...I'm working on it.
Never fear, I'll keep you all posted on the struggle.
Step 1: Decide what type of fundraiser you'd like to hold.
I had a couple of ideas in mind. I know that I'm going to do a winetasting (that's been a given for awhile). I also would like to do a cabaret. I was thinking about doing a selection of Sondheim songs. Or maybe a bunch of songs where women sing men's parts or men sing women's parts. Or maybe both - Sondheim songs where women sing the men's parts and men sing the women's parts...something fun. Another fundraiser I was thinking of doing was a cocktail party, or maybe a staged reading and then I thought I'd do both together. I don't want to do a full staged reading because I don't want to give away the whole show until the production is finished (you may have noticed my avoidance of spoilers), so maybe a cocktail party, after the show is cast, where we show vignettes from the show to give a taste...oh and, since it's a cocktail party, also everyone can get drunk. But, pick one, Jess, and go from there. So first comes the wine tasting.
Step 2: Decide on location.
So a friend of mine, who has been doing the fundraising thing a LOT longer than me, held a fundraising winetasting at this great place, a wine bar in the city. So, when I was at her fundraiser, she introduced me to the man in charge and we talked about me doing my own thing perhaps around July 12th. We exchanged cards with the plan of emailing and speaking the following week.
Step3: Negotiate the deal.
So after some back and forth with the wine guy, I'm hoping for an August 23rd date. It took some wrangling and it still hasn't been settled yet, but I'm optimistic that it will work out. The first date I wanted didn't work because it was too soon and the place wasn't available. Then the second date I wanted I lost to a wedding party. So know I'm putting my money on date #3. Keep your fingers crossed.
Step4: Pay the money.
I believe the next step will be to put a deposit on the space. This will hold the date and allow me to have the actual fundraiser. Keep your fingers crossed for me that the date will be available and that it will all go off without a hitch.
Step5: Decide on the wines.
I'm hoping that once the date is settled, the wine guy and I will sit down and decide what types of wines we'd like to have and sort out the raison d'etre for the fundraising being, you know, a winetasting.
Step6: Send out the invitations.
I'm still trying to decide if I want to do it by evite or if I want to send out real invitations. I think the "real" invitations thing is better but I'm not sure about spending the money on stamps. I am trying to keep costs to a minimum. I think I'm going to go the evite route and have the option for people to prepay before the event for less money than if they just showed up at the tasting on the day. There will probably be a 25-30 person limit and because space is limited so I want to make sure that anyone who wants to do it can come.
Step7: Show up on the day and make lots of money.
Hopefully it will be as simple as showing up on the appointed day and the money just rolling in. Keep your fingers crossed for me.
I do feel that I need to just sort of pull the trigger and get at least one fundraiser under my belt. For as much as I've broken it down into easily manageable steps, I still feel like it's overwhelming and the possibility that people will give me money for something (despite the $4000 in donations I've already received) for nothing in return (or in this case for some wine in return) still seems unlikely. I think it's a feeling, (it all comes back to asking for money from friends and strangers thing), that anyone who is trying to raise money, just has to get over...
...I'm working on it.
Never fear, I'll keep you all posted on the struggle.
Friday, May 2, 2008
But what about the WOMEN? GTTP's REAL purpose
So, there is some confusion about GTTP and Women...Let me explain.
When I started the company (read here and here and here) you'll notice that it was a little, uh, how shall I say this...chaotic? disorganized? (unorganized isn't a word, right? - my mom and John are both reading this and muttering, "can't she look it up in a dictionary? How does she not know that 'unorganized' isn't a word?" - actually I did just look it up and it is a word so forget I said anything - but I digress) anyway, the decision to start a company was completely lacking in organization and it was, how shall we say - unfocused?
Basically, I knew I wanted to start a theater but other than, "because I want to direct" I didn't really have a purpose - a mission statement, if you will. And, one of the first things I discovered in my earliest research, is that you can't start a theater company - especially one that may ultimately be its own nonprofit company - without a purpose, nay, a greater purpose that hopes to help mankind. So I started to think about what my directing means to me. What are some of the themes I keep exploring and could conceivably continue to explore throughout my career and I kept coming back to the women - ironic really what with the "help mankind" thing above (perhaps I should have said "to help womankind"), but, anyway, you get the picture.
It may be that I try to direct shows by people that I know and most of the writers I know are women and so they write about women. Or it could be that I can't help exploring what it means to be a woman in today's day and age. Or it could be that sexism is SO NOT dead and it pisses me off beyond belief. Or it could be that I'm a woman. Or it could be that WOMEN ARE MORE THAN 50% of the world's population and yet they are STILL woefully underrepresented in the arts...and in just about every other field as well, but I can only do so much. So I decided that I wanted my company to focus on women...
And by focus on women, I do not mean some militant, no men allowed, mentality. This ain't a reverse little rascals clubhouse with a sign on the door that says "No BOYS allowed". In fact, I believe that a fair portion of being a woman has to do with how women interact with men (the same way that a fair portion of being a man has to do with how men interact with women). Basically, I just mean that my purpose and GTTP's purpose is to try to give women a little more representation at least in my small corner of the theater world. So whether that means shows written by women, or directed by women, or starring women, or being designed by women, or generally about women, and/or all of the above, the focus of the company is definitely women.
In fact, the debut show is all about women (and by "all about women" I mean that the lead characters are women) but more then being all about women, I believe that, though the show will appeal to anyone who likes interesting characters and great writing, it will particularly resonate with women. The fears the main characters have (and the show is all about fear) are fears that I think are ever present in women's minds (and, not to scare the guys or anything, but I mean right up in the very front of women's minds - just below the surface something like 98% of the time) - or perhaps it's just that my female friends will discuss those fears while my male friends won't admit they have them - whichever it is, I feel like the show really explores these fears from a female perspective.
So, though the company is named in honor of a man (that you can read about here: Going To Tahiti Productions: What's in a Name?), it's also named for the possibilities that await around every corner - and those possibilities see no gender.
When I started the company (read here and here and here) you'll notice that it was a little, uh, how shall I say this...chaotic? disorganized? (unorganized isn't a word, right? - my mom and John are both reading this and muttering, "can't she look it up in a dictionary? How does she not know that 'unorganized' isn't a word?" - actually I did just look it up and it is a word so forget I said anything - but I digress) anyway, the decision to start a company was completely lacking in organization and it was, how shall we say - unfocused?
Basically, I knew I wanted to start a theater but other than, "because I want to direct" I didn't really have a purpose - a mission statement, if you will. And, one of the first things I discovered in my earliest research, is that you can't start a theater company - especially one that may ultimately be its own nonprofit company - without a purpose, nay, a greater purpose that hopes to help mankind. So I started to think about what my directing means to me. What are some of the themes I keep exploring and could conceivably continue to explore throughout my career and I kept coming back to the women - ironic really what with the "help mankind" thing above (perhaps I should have said "to help womankind"), but, anyway, you get the picture.
It may be that I try to direct shows by people that I know and most of the writers I know are women and so they write about women. Or it could be that I can't help exploring what it means to be a woman in today's day and age. Or it could be that sexism is SO NOT dead and it pisses me off beyond belief. Or it could be that I'm a woman. Or it could be that WOMEN ARE MORE THAN 50% of the world's population and yet they are STILL woefully underrepresented in the arts...and in just about every other field as well, but I can only do so much. So I decided that I wanted my company to focus on women...
And by focus on women, I do not mean some militant, no men allowed, mentality. This ain't a reverse little rascals clubhouse with a sign on the door that says "No BOYS allowed". In fact, I believe that a fair portion of being a woman has to do with how women interact with men (the same way that a fair portion of being a man has to do with how men interact with women). Basically, I just mean that my purpose and GTTP's purpose is to try to give women a little more representation at least in my small corner of the theater world. So whether that means shows written by women, or directed by women, or starring women, or being designed by women, or generally about women, and/or all of the above, the focus of the company is definitely women.
In fact, the debut show is all about women (and by "all about women" I mean that the lead characters are women) but more then being all about women, I believe that, though the show will appeal to anyone who likes interesting characters and great writing, it will particularly resonate with women. The fears the main characters have (and the show is all about fear) are fears that I think are ever present in women's minds (and, not to scare the guys or anything, but I mean right up in the very front of women's minds - just below the surface something like 98% of the time) - or perhaps it's just that my female friends will discuss those fears while my male friends won't admit they have them - whichever it is, I feel like the show really explores these fears from a female perspective.
So, though the company is named in honor of a man (that you can read about here: Going To Tahiti Productions: What's in a Name?), it's also named for the possibilities that await around every corner - and those possibilities see no gender.
Sunday In The Park With George
The blog review:
So, I saw Sunday in the Park With George a few weeks ago and have been meaning to write my review...but I realized that I needed to let it sit for awhile until I figured out what I wanted to say. Don't get me wrong I LOVED the show. I thought it was beautiful and moving and everything I want out of a theatrical experience. But there was more to it than that. This was my first encounter with this particular Sondheim show and, (as often happens the first time I'm exposed to Sondheim), I needed to digest my reaction to it and let the show percolate in my mind for awhile before I can talk intelligently about it...and, to be completely honest, I'm not sure that my reaction will be intelligently conveyed, but I'll give it the old college try.
For those of you not familiar with the show, the first act follows a fictionalized Georges Seurat as he creates the painting "A Sunday Afternoon on the Island of La Grande Jatte" (The painting is above and is probably familiar to many - and, I'm totally dating myself with this statement, but if you're of a certain generation, it inspires a memory of Alan Ruck singing, "When Cameron was in Egypt's Land...let my Cameron gooooo," because, if you saw Ferris Beuller's Day Off you remember Cameron staring at this painting in the Art Museum they visit...but I digress).
Anywho, as I was saying, the first act of SitPWG follows a fictionalized Georges Seurat and his model/lover, Dot, as they create the painting. Highlighted throughout the first act are Seurat's drive and intensity as he focuses entirely on perfecting the painting and lets everything around him drift away. The second act, which takes place 100 years later centers on
Georges' and Dot's (again fictionalized) great grandson, George, an artist displaying his latest art work - a light presentation/installation - inspired by the painting. The second act is particularly sneaky as it starts out seemingly about art and ends up making a profound statement about life - about legacy, life, hope and the possibilities of a blank canvas.One of the things I love about Sondheim, and it was particularly apparent in this show in general, and in this production in particular, is that the place you think he's going at the end of the first act, is never the place he ends up. From what I understand, in the past, this show has been criticized for being cold and distant, and I can see why one would think that at intermission. The first act, though visually beautiful (more on that later) seems to be just about an obsessive artist. As my dad said at intermission when I asked how he was enjoying it, "Jess, it strikes me that artists of the 19th century were like rock stars are today...and I care as little about them." I didn't feel quite that detached, and in fact the last scene of the first act which SPOILER ALERT SPOILER ALERT SPOILER ALERT is a creation of the painting itself - Georges moves around the stage positioning the rest of the cast into the tableau of the painting and until he began to position them, despite the fact that they'd been in their recognizable-from-the-painting outfits for the entire first act, I didn't see it coming. And the power of that moment, when the cast suddenly becomes a living representation of this painting I have seen a gazillion times before, well, I'll admit, it brought me to tears. The act of creation, in whatever form it takes, is powerful to me...so, yeah, Sondheim, and this particular production, had me from the start but my dad, yeah, not so much.
...and then came the second act. The second act again starts out seeming to be about an obsessive, temperamental artist; but as it continues you realize that it's about love and loss and connections we try to make and connections we lose. It's about wanting to leave something behind and it's about the possibilities that are around us if we only choose to see them. As affecting as I found the first act, I felt that the single most moving moment of the piece, and I don't know if it was a director's choice (in which case, well played Sam Buntrock, well played) or if it's in the script, was the last moment of the piece. SPOILER ALERT SPOILER ALERT SPOILER ALERT (I should make a macro for that). The last moment of the show the stage goes completely blank - no set, no projections (more on that later), clear light, and George turns his back to the audience to see this blank canvas and reacts with a gasp of surprise and utter delight at the possibilities...It is beautifully played by Daniel Evans and was so moving to me, I can't even describe why, that the tears started to flow again.
I guess I was so moved because I love that moment. That moment when you know that anything is possible. That moment when all avenues are open to you. That moment before the doubt creeps in and before the choices are made when the potential for joy and novelty and excitement is around every corner. It's the moment that Going To Tahiti Productions was created for (forgive the plug) and it is the thing I love about theater, about directing, about art, and yeah, about life too. I wonder if it is as affecting a piece of theater to non artists. I've read that it is considered one of Sondheim's most personal shows, and I can definitely see how it can be seen that way, but I wonder if the non-artists in the crowd were as excited and moved by the show as I was. What I do know is that my dad's reaction after the first show was a 180 compared to his intermission reaction. After it was over, I turned to him to see what he thought about the show and he said, "I forgot about Sondheim and his f**king second acts." So, I guess some of the non artists were effected by the show too. My Mom, a Sondheim fanatic, and the reason we were at the show to begin with, was kinda like me - with Sondheim from the second the lights went up.
Which brings me to some comments about this production specifically. It was absoLUTEly beautiful. They achieved so much with projections that it truly looked like there was a big brush painting the stage. I've never seen anything like it. One review I read said that it was like CGI, (computer generated imagery) on stage and I would have to agree with that. But it was so beautiful. I absolutely loved it. It was one of those times when a technique really added to, supported, and enhanced the work that the actors were doing. It was really wonderful. And I don't know why I'm so surprised. I mean I've been watching CGI in movies for years and yet I'm just not expecting to see it on stage. I know the power of a brilliant performer with brilliant material doing his or her thing. But this was a testament to what can be done with more, with multimedia, with design...oh, and with money. And this was a show that particularly lent itself to the use of projection. It's a show that needs paintings to be painted and come alive in front of the audiences eyes, so it's a perfect medium for the kind of projection work they used.
So, yeah, all in all, I liked it. Good show, old chap, good show...
Monday, April 28, 2008
Where are we now?
So here's the current status:
I launched the company last year and started fundraising by sending emails to everyone I knew (and had email addresses for). That brought in the first round of dough.
After that I got the website up and running and I sent out a winter newsletter announcing the website and some other initiatives and that brought in the second round of dough.
In February I sent out a snail mail mailing to fellow Waterford High School alums and the amazing crew of drivers I had worked with at OZOcar...and wouldn't you know it (and, if you knew these folks, this would come as no surprise to you) both the Lancers and the drivers really stepped up to the plate to bring in another round of dough.
Currently we're at about $4500 - which is not bad at all for a few months work, but seeing as the goal is $20,000 we still have a ways to go. Now, I may get to a point when I can afford to rent the theater and not much else - a point where I just pull the trigger and we have a show - come hell or high water. Honestly, I'd rather have the whole budget in the bank and ready to spend before I spend a dime, but the clock is ticking (for tax reasons I MUST have the show during this tax year) and if I can't have the perfect big budget production, maybe a smaller budget show will still be worth it. Honestly, if I can afford a performance space for a 3-4 week run, then the smaller budget thing will be fine with me...Besides, I need to be directing. It's killing me that it's been so long since I've worked with actors and really crafted a production, so, yeah, that "come hell or high water" thing, looking very appealing right now. I have gotten to the point where I'm directing my fiance around the apartment and really, that's just bossy and naggy (two things I'd really rather not be)...but I digress...
The next step which is happening even as I write this, is the prep and distribution of the Spring 2008 newsletter (which some of you have already received and others will be receiving) - announcing this blog and getting people prepped for some spring/summer fundraisers that are in the planning stage. The hope is that people, after reading the newsletter and the blog, will want to get involved and want to be a part of GTTP's future.
So that's where we are now - $4500 and counting. My aim is to have at least two fundraisers in the next couple of months and the show this summer... I will keep everyone posted.
I launched the company last year and started fundraising by sending emails to everyone I knew (and had email addresses for). That brought in the first round of dough.
After that I got the website up and running and I sent out a winter newsletter announcing the website and some other initiatives and that brought in the second round of dough.
In February I sent out a snail mail mailing to fellow Waterford High School alums and the amazing crew of drivers I had worked with at OZOcar...and wouldn't you know it (and, if you knew these folks, this would come as no surprise to you) both the Lancers and the drivers really stepped up to the plate to bring in another round of dough.
Currently we're at about $4500 - which is not bad at all for a few months work, but seeing as the goal is $20,000 we still have a ways to go. Now, I may get to a point when I can afford to rent the theater and not much else - a point where I just pull the trigger and we have a show - come hell or high water. Honestly, I'd rather have the whole budget in the bank and ready to spend before I spend a dime, but the clock is ticking (for tax reasons I MUST have the show during this tax year) and if I can't have the perfect big budget production, maybe a smaller budget show will still be worth it. Honestly, if I can afford a performance space for a 3-4 week run, then the smaller budget thing will be fine with me...Besides, I need to be directing. It's killing me that it's been so long since I've worked with actors and really crafted a production, so, yeah, that "come hell or high water" thing, looking very appealing right now. I have gotten to the point where I'm directing my fiance around the apartment and really, that's just bossy and naggy (two things I'd really rather not be)...but I digress...
The next step which is happening even as I write this, is the prep and distribution of the Spring 2008 newsletter (which some of you have already received and others will be receiving) - announcing this blog and getting people prepped for some spring/summer fundraisers that are in the planning stage. The hope is that people, after reading the newsletter and the blog, will want to get involved and want to be a part of GTTP's future.
So that's where we are now - $4500 and counting. My aim is to have at least two fundraisers in the next couple of months and the show this summer... I will keep everyone posted.
Monday, April 21, 2008
So what's this show you've mentioned?
So I got the fiscal sponsorship and I got the website up and running (have I mentioned it? It can be found here www.goingtotahitiproductions.com. And now I'm trying to raise money...but for what, you ask. Very good question.
Ok, for those of you who don't know this, I am a sci-fi fan. This is important because, as a sci-fi fan, I'm particularly sensitive to spoilers. "Nice non-sequiter, Jess," you say. Actually it's not a non-sequiter. As someone who is sensitive to spoilers (like don't want to even know if you liked it or hated it before I see it because if I know you well enough I'll be able to tell from your like/dislike, what happens in the movie and then I'll be bummed sensitive to spoilers), I would absolutely hate the idea that in discussing my shows, I ruined something for a potential audience member. So, dear readers, for those of you who are as sensitive to spoilers as I, skip the rest of this post if you don't want to know anything about In The Ebb until the curtain goes up and you're butt is in a seat in the theater. That is my big
SPOILER ALERT SPOILER ALERT SPOILER ALERT!!!
For everyone else who wants to know what the shows are about, here you go:
In The Ebb is a trio of one acts: I Like You To Marlowe, The Ebb, and St. James in the Field of Stars. They are based on short stories that my sister, Camilla wrote a few years ago. Each story has at it's core a woman who is trying to deal with whatever life throws at her. Each protagonist is technically a different woman but they could conceivably be the same woman who has just had different life experiences. The main characters of each are archetypes of the modern American woman.
But what are the plays about, Jess?
I Like You To Marlowe is about fear. Fear of death and never becoming the person you were meant to be. Fear of turning from a normal girl into a bitter woman. Fear of losing, or of already having lost, who you are as a person. Before the events of the play two college age twin sisters (yes I said twins and don't think for a second that that doesn't give me a little thrill of fear about the casting process), Stella and Luna, are in a car accident and though both lived, Luna was left with a disfiguring scar (and there are the palpitations about the make-up process). For Luna, the injuries have meant a retreat even further into herself. On the eve of the millennium, when the world could possibly end, the sisters and their significant others brave the crowds (and Dick Clark) in Times Square and try to celebrate another year gone by. For Luna, celebrating the year gone by is more difficult - she would prefer to hide from the world, from her own face which she sees on Stella every day, from the guilt of feeling sorry for herself and being angry with her sister and from the fear of knowing - really knowing - that this life can end in an instant. Luna would prefer to pull away and wait for life to quietly pass her by.
The Ebb is about fear. (Are you sensing a theme here, people?) Emily is a normal young American woman. Recently married and fixing up her dream house with her dream husband and living her dream life...A life she can't seem to enjoy because she is absolutely terrified that it is going to be taken away from her. Despite the gifts life has bestowed on her, Emily can't settle in to her own happiness because the love she feels for those around her is so overwhelming that she is paralyzed with the fear that it will end and she will be left all alone, again. Emily fears that truly enjoying her life will be a flag to the universe and will bring the wrath of the fates upon her...and as much as she knows in her head that this is something she needs to get past, she can't seem to move forward. She's stuck in this transitional zone between fear and contentment, between love and loss and no matter how she tries she can't seem to reconcile the contradictions. As her new husband and she fix up their dream house, she pulls away from him and waits for life to quietly pass her by.
St. James in the Field of Stars is about fear. (yup, I think you figured out the theme.) When Alicia's father was lost at sea, she moved to Europe and basically ran away from everything in her life that was familiar to her. When Joel, her "Never," tracks her down and invites her from the cold, wet and dark of Scotland to the sunny, dry and warmth of Spain, she goes more because she needs to keep running than because she actually wants to see him or Spain. Alicia is so frightened that she will connect with someone again and lose another person that she loves - a loss she has never gotten over - that she, like Luna, like Emily pulls away from everyone and tries to build this protected little bubble around herself so that no one can get in...and she can wait for life to quietly pass her by.
Luna, Emily, and Alicia are all three paralyzed by fear...and all three need to find a way to face that fear, embrace their lives and those around them and live, if not without fear, at least in spite of it.
...so, yeah, that's what the show is about.
Ok, for those of you who don't know this, I am a sci-fi fan. This is important because, as a sci-fi fan, I'm particularly sensitive to spoilers. "Nice non-sequiter, Jess," you say. Actually it's not a non-sequiter. As someone who is sensitive to spoilers (like don't want to even know if you liked it or hated it before I see it because if I know you well enough I'll be able to tell from your like/dislike, what happens in the movie and then I'll be bummed sensitive to spoilers), I would absolutely hate the idea that in discussing my shows, I ruined something for a potential audience member. So, dear readers, for those of you who are as sensitive to spoilers as I, skip the rest of this post if you don't want to know anything about In The Ebb until the curtain goes up and you're butt is in a seat in the theater. That is my big
SPOILER ALERT SPOILER ALERT SPOILER ALERT!!!
For everyone else who wants to know what the shows are about, here you go:
In The Ebb is a trio of one acts: I Like You To Marlowe, The Ebb, and St. James in the Field of Stars. They are based on short stories that my sister, Camilla wrote a few years ago. Each story has at it's core a woman who is trying to deal with whatever life throws at her. Each protagonist is technically a different woman but they could conceivably be the same woman who has just had different life experiences. The main characters of each are archetypes of the modern American woman.
But what are the plays about, Jess?
I Like You To Marlowe is about fear. Fear of death and never becoming the person you were meant to be. Fear of turning from a normal girl into a bitter woman. Fear of losing, or of already having lost, who you are as a person. Before the events of the play two college age twin sisters (yes I said twins and don't think for a second that that doesn't give me a little thrill of fear about the casting process), Stella and Luna, are in a car accident and though both lived, Luna was left with a disfiguring scar (and there are the palpitations about the make-up process). For Luna, the injuries have meant a retreat even further into herself. On the eve of the millennium, when the world could possibly end, the sisters and their significant others brave the crowds (and Dick Clark) in Times Square and try to celebrate another year gone by. For Luna, celebrating the year gone by is more difficult - she would prefer to hide from the world, from her own face which she sees on Stella every day, from the guilt of feeling sorry for herself and being angry with her sister and from the fear of knowing - really knowing - that this life can end in an instant. Luna would prefer to pull away and wait for life to quietly pass her by.
The Ebb is about fear. (Are you sensing a theme here, people?) Emily is a normal young American woman. Recently married and fixing up her dream house with her dream husband and living her dream life...A life she can't seem to enjoy because she is absolutely terrified that it is going to be taken away from her. Despite the gifts life has bestowed on her, Emily can't settle in to her own happiness because the love she feels for those around her is so overwhelming that she is paralyzed with the fear that it will end and she will be left all alone, again. Emily fears that truly enjoying her life will be a flag to the universe and will bring the wrath of the fates upon her...and as much as she knows in her head that this is something she needs to get past, she can't seem to move forward. She's stuck in this transitional zone between fear and contentment, between love and loss and no matter how she tries she can't seem to reconcile the contradictions. As her new husband and she fix up their dream house, she pulls away from him and waits for life to quietly pass her by.
St. James in the Field of Stars is about fear. (yup, I think you figured out the theme.) When Alicia's father was lost at sea, she moved to Europe and basically ran away from everything in her life that was familiar to her. When Joel, her "Never," tracks her down and invites her from the cold, wet and dark of Scotland to the sunny, dry and warmth of Spain, she goes more because she needs to keep running than because she actually wants to see him or Spain. Alicia is so frightened that she will connect with someone again and lose another person that she loves - a loss she has never gotten over - that she, like Luna, like Emily pulls away from everyone and tries to build this protected little bubble around herself so that no one can get in...and she can wait for life to quietly pass her by.
Luna, Emily, and Alicia are all three paralyzed by fear...and all three need to find a way to face that fear, embrace their lives and those around them and live, if not without fear, at least in spite of it.
...so, yeah, that's what the show is about.
Monday, April 14, 2008
The Joys of Fiscal Sponsorship
So, what is this "Fiscal Sponsorship" you speak of, Jessica? Well, for those of you who don't know, it is this amazing thing where a nonprofit organization sponsors a smaller organization. If you are an individual, or a small company, particularly in the arts (I only know about it in the arts, though there may be other organizations in other fields that offer it) you can become sponsored by a larger, more established company. In my case, I went with The Field. By being sponsored I am able to have the benefits of being a non-profit company, without having to go through the process of selecting a board, writing bylaws and applying for my own 501(c)(3). What's more, if down the line, I'm interested in establishing an LLC or LLP instead of a non-profit, then I don't have to reverse anything. I can just go from Sole Proprietorship, to whatever corporate structure I wish without having to dissolve something I already established.
By being sponsored, donations made to my company are tax deductible to the donor. Additionally, I can apply for grants that are available only to non-profit companies, and I can use resources that are for non-profit companies. And, if someone wants to donate to my company by credit card, they can do so on The Field's website without me having to set up some sort of online payment system. It's remarkably freeing - allowing me to have the benefits of a non-profit company without having to set it up and run it. It allows me the opportunity to focus on the art.
Now comes my PSA - If you are an artist in the New York area and you're interested in becoming fiscally sponsored, there are a couple of organizations which can help you. The two I am most familiar with are The Field www.thefield.org and Fractured Atlas www.fracturedatlas.org.
Both organizations are wonderful and provide many more resources than just fiscal sponsorship. I believe The Field started by being a dance support system whereas Fractured Atlas was really more focused on theater (but don't quote me on that). Now they both are really active in supporting all performing arts. I absolutely can not say enough good things about The Field (I have no personal experience with Fractured Atlas but from what I understand from people I've spoken to, they are also a wonderful organization.) Everyone at The Field is helpful and knowledgeable and just all around terrific. As you can see, I'm a bit of a fan.
By being sponsored, donations made to my company are tax deductible to the donor. Additionally, I can apply for grants that are available only to non-profit companies, and I can use resources that are for non-profit companies. And, if someone wants to donate to my company by credit card, they can do so on The Field's website without me having to set up some sort of online payment system. It's remarkably freeing - allowing me to have the benefits of a non-profit company without having to set it up and run it. It allows me the opportunity to focus on the art.
Now comes my PSA - If you are an artist in the New York area and you're interested in becoming fiscally sponsored, there are a couple of organizations which can help you. The two I am most familiar with are The Field www.thefield.org and Fractured Atlas www.fracturedatlas.org.
Both organizations are wonderful and provide many more resources than just fiscal sponsorship. I believe The Field started by being a dance support system whereas Fractured Atlas was really more focused on theater (but don't quote me on that). Now they both are really active in supporting all performing arts. I absolutely can not say enough good things about The Field (I have no personal experience with Fractured Atlas but from what I understand from people I've spoken to, they are also a wonderful organization.) Everyone at The Field is helpful and knowledgeable and just all around terrific. As you can see, I'm a bit of a fan.
Sunday, April 13, 2008
Why I Snapped and What I Decided to Do About It
So last Easter (2007), I finally just got fed up...Fed up with the day job thing, fed up with the still not having a career I enjoy or am meant to do thing, just generally fed up. A few years ago I directed a short film, a short film I still hope to return to one day, and it went really well and the end product is great, but I don't know how to go from a short film that I paid for with my credit card to a full length movie that I somehow raise a million dollars for. And, for years in New York, as I mentioned, I have directed these shows, which usually had a 4 night run and which only friends and family came to see. So when I snapped, I decided it was time to move it up a level, make this directing thing happen once and for all or give it up.
So I picked a project, a GREAT project - a series of one acts that my sister, Camilla, wrote and actually put together an actual budget and decided to try to raise some money, have a long run (at least three weeks), and try to get reviewed - try to get some buzz and end up parlaying this into a career. And, the more I thought of it, the more sense it made to start an actual company, get a federal tax id number, and have a base, from which to really launch the rest of my professional life. Forget that I had no IDEA how to do that. As the Nike commercials say, the best way to figure something out is to just do it, right? I knew I'd still need a day job, probably for a couple of years. But at least I wouldn't be devoting all of this time to something that is there for a weekend, and then is over and goes nowhere.
So, through much bumbling around, I figured it out, registered the business name, applied to the IRS for a Federal Tax ID Number, opened a business bank account and figured it out. Hell, I even figured out how to get a website up and running. See it here at www.goingtotahitiproductions.com. And then I found a fiscal sponsor...
So I picked a project, a GREAT project - a series of one acts that my sister, Camilla, wrote and actually put together an actual budget and decided to try to raise some money, have a long run (at least three weeks), and try to get reviewed - try to get some buzz and end up parlaying this into a career. And, the more I thought of it, the more sense it made to start an actual company, get a federal tax id number, and have a base, from which to really launch the rest of my professional life. Forget that I had no IDEA how to do that. As the Nike commercials say, the best way to figure something out is to just do it, right? I knew I'd still need a day job, probably for a couple of years. But at least I wouldn't be devoting all of this time to something that is there for a weekend, and then is over and goes nowhere.
So, through much bumbling around, I figured it out, registered the business name, applied to the IRS for a Federal Tax ID Number, opened a business bank account and figured it out. Hell, I even figured out how to get a website up and running. See it here at www.goingtotahitiproductions.com. And then I found a fiscal sponsor...
Sunday, April 6, 2008
How I got here...cont. (ok, so maybe you will need can goods for this story)
You see, I have been really spoiled by my family in this realm. My parents are both college professors and they both love their work. They love the atmospheres they work in. They love teaching. They're really good at it. And, for better or worse, I don't think either of them have any idea what it is like to get to that Sunday night before heading to the day job and think to yourself, I would honestly rather stick a pen in my eye than have to go to work tomorrow - I mean, pen-in-the-eye is a legitimate reason to miss work, right? ...all I mean to say by all of this is that I grew up thinking it was perfectly right and good to love what you do for a living. In fact, I grew up believing that you should aim for that - love what you do. And my parents, god love 'em, have absolutely supported my pursuit of this dream.
So I came to NY and started directing. I have had many day jobs - waitress, receptionist, admin asst., executive asst., office manager, massage therapist - and all the while I have been directing. Lots of little shows - most original works - at all different theaters around the city. And they'd gone pretty well. My family and friends have come to see them, and if they are to believed, I really am a rather good director. But I never wanted to produce. It's just not something I ever wanted to do. The questions a producer has to deal with - the logistics of raising money and mounting a production - hold no interest to me. It's not creative enough for me. So for years I have resisted producing my own productions. And then I snapped...
So I came to NY and started directing. I have had many day jobs - waitress, receptionist, admin asst., executive asst., office manager, massage therapist - and all the while I have been directing. Lots of little shows - most original works - at all different theaters around the city. And they'd gone pretty well. My family and friends have come to see them, and if they are to believed, I really am a rather good director. But I never wanted to produce. It's just not something I ever wanted to do. The questions a producer has to deal with - the logistics of raising money and mounting a production - hold no interest to me. It's not creative enough for me. So for years I have resisted producing my own productions. And then I snapped...
Wednesday, April 2, 2008
Entering the Blogosphere - officially
Ok, so it's time for me to get on the stick and seriously enter the blogosphere, so here we go.
Welcome to the Going to Tahiti Productions Blog. I'll be talking about all manner of things here but primarily I'll be talking about my struggle to start a theater company, raise money, mount a production and generally follow my dream.
So here's the update so far - I'll try to keep it brief - I hope you won't need canned goods for this story!
I came to New York in 1996. Big dreams, I had big dreams I tell you...
Actually, I had what I considered a relatively small dream. I wanted to find a way to get paid to do what I love - directing. I didn't care how, I didn't care what, I just wanted to direct - theater, film, tv, industrials, commercials, my roomates in my apartment...you know, just directing. It's the thing I've been put on this earth to do-I KNOW this, so I just wanted to be directing...
I was interested in film, but had been trained in theater. And, after I graduated from college and tried the LA scene and decided it wasn't for me, I decided New York, the indy film scene and theater were definitely more my bag. So that was the dream I showed up in this city with - direct. Win a Tony by 30 and at least be nominated for an Oscar by 35. Modest dream, right? Actually, all I really wanted was to have a career doing what I love.
Welcome to the Going to Tahiti Productions Blog. I'll be talking about all manner of things here but primarily I'll be talking about my struggle to start a theater company, raise money, mount a production and generally follow my dream.
So here's the update so far - I'll try to keep it brief - I hope you won't need canned goods for this story!
I came to New York in 1996. Big dreams, I had big dreams I tell you...
Actually, I had what I considered a relatively small dream. I wanted to find a way to get paid to do what I love - directing. I didn't care how, I didn't care what, I just wanted to direct - theater, film, tv, industrials, commercials, my roomates in my apartment...you know, just directing. It's the thing I've been put on this earth to do-I KNOW this, so I just wanted to be directing...
I was interested in film, but had been trained in theater. And, after I graduated from college and tried the LA scene and decided it wasn't for me, I decided New York, the indy film scene and theater were definitely more my bag. So that was the dream I showed up in this city with - direct. Win a Tony by 30 and at least be nominated for an Oscar by 35. Modest dream, right? Actually, all I really wanted was to have a career doing what I love.
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