Going to Tahiti Productions

DREAMERS OF THE DAY has OPENED!!!!

2010-09-17T14:46:00.004-04:00

Dreamers of the Day

has officially opened for a limited run at Roy Arias Studios and Theatres at the Times Square Arts Center, 300 West 43rd Street, NYC.

Only 11 performances left!!!

Get tickets now at www.goingtotahitiproductions.com or

call 866-811-4111.

Loading In...

2010-09-12T13:19:00.002-04:00

We're loading DREAMERS in to the Roy Arias Studios and Theatres even as we speak! There was a moment of panic this morning when we initially couldn't get into the theater but we're in now. Set construction is almost done. Sound cues are loaded, projections are getting worked out now. To get tickets for DREAMERS OF THE DAY, click here or go to www.goingtotahitiproductions.com.

One Week to go!!!

2010-09-10T09:14:00.006-04:00

So, somehow three weeks of rehearsal have flown by and we are now less than a week from opening night. The rehearsals are going very well and we can't wait for you to see what Agnes would call, "our little story."

Here are all the details:

DREAMERS OF THE DAY, a play based on the novel by Mary Doria Russell, is the story of one woman's accidental witness to history during the formation of the modern Middle East.

Egypt. 1921. Lawrence of Arabia. Winston Churchill. Woodrow Wilson...and Agnes Shanklin?

On the eve of the Cairo Peace Conference, a lonely American heiress finds herself the confidant of diplomats and the target of the attentions of a possible German spy. Part travelogue, part history, part journey of self-discovery, Kirkus Reviews calls the novel “an inspired fictional study of political folly.”

Five actors, Rhonda Harrington*, Kiwi Callahan, David Eiduks,* Adam Segaller*, and Maria Silverman* bring 70 characters to life in locations as varied as a Cleveland living room, a steamboat on the Nile, and a shadowy purgatory.

*denotes members of Actors' Equity Association

Performance Dates:

Thursday, September 16 - Saturday, September 18, at 8pm

Sunday, September 19, at 2pm

Thursday, September 23 - Saturday, September 25, at 8pm

Sunday, September 26 at 2pm

Wednesday, September 29 – Saturday, October 2 at 8pm

Dreamers of the Day will be performed at The Roy Arias Studios and Theatres in the Times Square Arts Center, 300 West 43rd Street, 5th Floor.

Tickets available online here and at www.goingtotahitiproductions.com or by phone at 212-811- 4111.

All tickets are $18.

End of Week Two...

2010-08-27T23:34:00.003-04:00

Almost two weeks of rehearsal under our belts and the show is shaping up nicely. I don't really have much else to say except that I love my cast. They are gelling nicely with each other and the ensemble is just a fun talented group to be a part of. We have our first movement rehearsal on Sunday...Dana will be teaching the cast to ride camels. It should be great fun. The only thing I'm worried about is getting the camels into the rehearsal studio. :)

We Have A Cast!!!

2010-08-15T23:18:00.004-04:00

So the show has been cast and we have officially begun rehearsals!!!!

The full cast assembled today for the first time and we had our first Read Through. It went very well...though we didn't actually get through the whole script - clearly someone is going to need to cut another 20 pages...BUT, the reading went great!!! It was so exciting to hear Mary's beautiful words coming out of the mouths of actors instead of out of my mouth talking to my reflection in a mirror and trying to figure out if this show is going to work. Having heard actual actors, and really talented ones at that, actually start to play around with the characters and bring something of themselves to the show...it was thrilling...it was, it is- what I live for and, I can tell you now, this show is going to work...and this was only the first day!!! I can't wait to see what happens when we really start to play with the script, with movement, with tech and design elements. I'm hoping to post some cast info - headshots and bios on the website soon. Keep an eye out for updates. AND, I promise, I will try to update the blog regularly throughout this rehearsal process, but for now, I'm hitting the hay.

Only ONE DAY LEFT for Kickstarter donations!!

2010-07-31T12:00:00.003-04:00

ONLY ONE DAY LEFT to be a part of the DREAMERS OF THE DAY on STAGE Kickstarter Campaign!! Thank you for helping us reach our goal, now help us blow past it like a semi truck passing a family station wagon on I-95 at 3am!!!

You can still be a part of the action, and as my 7 year old nephew says, "This is SO much ACTION!"

Click here for details and to donate:
Kickstarter: Dreamers of the Day on Stage

We've got a theater, we've got a crew, now let's get a cast, shall we?

2010-07-31T11:49:00.004-04:00

Things are heating up...

The Showcase Application has been submitted to Equity and is pending approval.

The Theater has been booked!

DREAMERS OF THE DAY will open on September 16th at the Roy Arias Theatre Center at the Times Square Arts Center at 300 West 43rd Street. The show will run for 3 weeks until October 2nd. Details and ticket information will be posted as soon as it is available.

We're almost crewed up!

We've got ourselves a set designer, a stage manager, a sound designer, a choreographer and a projections designer. We're still waiting on word about a lighting designer, but, seeing as we're still 6 weeks out from opening night, I feel like we're in pretty good shape.

And now, we just need a cast!

Auditions will be held Monday and Tuesday. Depending on how the initial auditions go, we'll probably do call-backs next weekend. Currently we're on track for an August 15th rehearsal start date!

KICKSTARTER!!!

2010-06-22T13:08:00.009-04:00

You may have heard rumblings through newsletters or facebook, that we have launched a new fundraising campaign at a website called Kickstarter. I'm here to tell you, the rumblings are true! Kickstarter.com is this awesome site that helps fundees find funders. In the website's own words: "Kickstarter is a new way to fund creative ideas and ambitious endeavors... Kickstarter is powered by a unique all-or-nothing funding method where projects must be fully-funded or no money changes hands."

We have launched a campaign specifically for DREAMERS OF THE DAY. Although donations on Kickstarter are not tax deductible, they do come with rewards attached. Rewards like free tickets and behind the scenes access to the production. Take a look at our Kickstarter page to learn more or to make a donation. (there's a little video and everything):

Kickstarter - Dreamers of the Day on Stage!

As you'll see from the site, we only have until August 1st to hit (and hopefully surpass) our goal. So, the clock is ticking!

GOING TO TAHITI is going to the BAR!!!

2010-06-08T14:14:00.009-04:00

When I first moved to New York and was faced with a big scary rent and no real job which would help me pay the big scary rent, I went through a couple of stages. The first stage was - Temp Jobs, wherein I signed up with 8 different temp companies and took every office job that I could (no kidding I have a scrapbook of letterhead from like 30 different temp jobs.)

I quickly realized that the whole temp job thing sucked and so I moved on to stage two - Waitressing, wherein I got a CRAPPY job waiting tables at a restaurant near my Upper East Side apartment (a two bedroom with 3 people in it. This wasn't an UES penthouse, people). Now, this crappy job had a couple of good things going for it: 1) the food was really good, so when I worked long hours and I needed to eat there, I had access to a good meal and 2) the staff of mainly middle easterners served up some great home cooked (or restaurant kitchen cooked) meals that weren't on the menu but that they invited me to join them in consuming. So the date, rice, chicken dish I had during Ramadan was awesome and something I still think about on occasion. That being said, with the exception of those to things, it was a crappy job and leaving that place was one of the greatest things I did.

And then there was stage Three - Bartending. This was my favorite stage. This was the stage where I spent a lot of money and took a two week bartending course so that I could learn to tend bar and then I would immediately be hired by a Cheers-like establishment, where everyone would know my name and would love that I did this whole "tend bar" thing while I worked on my directing projects and within a year or two, I would be a famous and successful director and I would leave the bartending profession with fond memories and great stories... it was a brilliant plan... too bad it didn't so much, you know, happen. Instead, after I spent all my money to take the bartending course and I went out there with my brand spanking new bartending resume which read "graduate of the American Bartending School" and then nothing, wouldn't you know it? No one would hire me because I lacked "experience." WhatEVER! People are so picky. Anyway, that little setback sent me back into Stage One and the various temp jobs led to more permanent office jobs and a whole lot of office experience - ugh.

"Who cares, Jess?" you ask.

"Well you do," I answer. And here's why:

Finally, after 15 years of my bartending certificate lying dormant in a drawer, I am resurrecting it, like a Phoenix from the ashes, and I. am. tending. BAR! Ok, so it's not like I've got a new job or anything, I'm guest bartending at BAR12 at 206 34th Street in NYC. And it's only from 6-9pm. And it's a one night only engagement - FRIDAY, June 25th. And, I'll have a "real" bartender backing me up with helpful reminders on how to make, uh, just about everything. But still, it should be fun.

It's all in support of our upcoming production of Dreamers of the Day. It's $10 at the door or $17 if you want the extended happy hour. AND, we just heard from a donor who is willing to match funds raised up to $1000! So come on out and help make our bartending night a success. And seriously, with me behind the bar, there should be no end to the hilarity that will ensue as I try my Tom Cruise Cocktail moves. (If anyone from management at Bar12 is reading this, no worries, my "Tom Cruise Cocktail moves" are limited to a cocky grin.) Oh, and I make a small request that you not decide to play stump the bartender with your drink orders and keep it to things like "vodka, on the rocks." I already know what goes in that drink order. Heh.

Here are the details again:

When: Friday, June 25th 6:00-9:00pm

Where: Bar12 at 206 East 34th Street

How much: $10 to get in the door or $17 for the extended happy hour

Second Draft - DONE! Now, in search of a Crew!

2010-06-01T11:29:00.001-04:00

So the second draft of the script is finished and is currently with a few trusted readers for editing suggestions. It's still entirely too long (need to cut about 30 pages) but it's at least in production form and, in fact, in good enough shape that if I had a cast and crew right now I would feel comfortable workshopping it. The biggest change of this round of editing is that the play, originally envisioned as a one woman show, now includes a cast of 5 people. It's a pretty big change but one that I think will really benefit the overall production.

Speaking of the overall productions, I am currently looking for a crew to get started on pre-production design. If you are a set, lighting, sound, costume, or props designer, or if you are an artist of any type and are looking to try your hand at theater, or if you know someone who fits into one of those categories, please send them my way. They can reach me at jessica@goingtotahitiproductions.com. We're looking at performing the show in a blackbox theater with a minimal set and I think for the right kind of designer this could be a really fun project.

LEND ME A TENOR

2010-05-31T13:05:00.000-04:00

For my first wedding anniversary, my husband indulged my love of live theater and took me to see the current run of Lend Me A Tenor at The Music Box Theatre on 45th Street. This version of Ken Ludwig's VERY funny farce was directed by Stanley Tucci and stars Tony Shaloub, Brooke Adams, Anthony LaPaglia and Justin Bartha. It was, in a word, HILARIOUS! Just great fun all around. The actors were clearly having a great time and Stanley Tucci's directing was superb.

One of the things I love about watching comedy is also one of the things that scares the crap out of me when it comes to directing comedy, which is that you need to walk a very narrow line. You never want to push for a laugh but at the same time sometimes you need to go pretty far out on the edge to get the laugh. If you don't know where that line is, then regardless of how hard the actors are trying, it can be a pretty interminable hour and a half. If the audience isn't laughing, you've got nothing. In my opinion, drama is much more forgiving. What I thought Stanley Tucci did marvelously was walk that line. He knew exactly how to direct this comedy and there were some gags in this show that I will not give away here but that were literally "fall out of the chair" funny. (At one point, I did in fact slip out of my chair laughing.) One last thing, at live theater, although people don't usually get out of their seats before the house lights come up, I definitely recommend staying through the curtain call and not bolting as soon as the lights go down on the show. Lend Me A Tenor has a brilliant gag as part of it's curtain call which is truly not to be missed.

Seriously folks, if you get a chance and you want to laugh, go see this show.

Anyone Can Whistle including GOD!

2010-04-10T11:49:00.009-04:00

Anyone Can Whistle is one of Sondheim's lesser known musicals, and because it's his 80th birthday this year, even the lesser known musicals are getting productions. For something like five days this month NY City Center did a "staged reading" of Anyone Can Whistle. Now, for those of you who are familiar with staged readings they can fall on a WIDE spectrum ranging from a few actors standing on stage around music stands to a full on production with musical numbers, a band, costumes and sets that the actors move around in while happening to be carrying their scripts.

This version of Anyone Can Whistle fell in the latter category. It had a 29 person cast, including Sutton Foster, Donna Murphy, and Raul Esparza (who in my head is my Broadway Boyfriend - I'll digress for one second and say that I first fell in love with Raul Esparza when I saw him in Company, and the specific moment he became my BB was when I saw him sing "Being Alive." That was when I knew that I would have to see Company again and that he would forever hold a place in my heart. Now, I try to see him in everything (though budget often prohibits that) and I was thrilled when he turned up in the DVDs of the (sadly cancelled) show Pushing Daisiess and am hoping he turns up many other places as well) but alas, I digress.

What was I saying? Oh, right, there was a 29 person cast and though the sets were on the minimal side, I would bet that the budget for sets and costumes alone in this production was more than my entire budget for Dreamers of the Day. And, on the full musical production number front, they didn't scrimp at ALL. In fact, in this show, there was one of the most incredible dance moves I've ever seen...I'm going to try to describe it:

So there's this whole massive dance number in the middle of the show. It's like 15 minutes long. And it is chaos - beautiful, controlled chaos. The entire 29 person cast is running and dancing around the stage (no small feat because the orchestra was also on the stage - upstage center). It's basically this massive chase scene where a small group are chasing a larger group and one by one throwing the larger group into jail (which is Stage Right). So one dancer in particular is being pursued by 4 other dancers and the pursuee starts on the Stage Right side and starts to run, flat-out towards the proscenium arch on the other side of the stage. Her four pursuers are right behind her running with her and, just when it looks like she is going to smash right into the arch two pursuers grab her outstretched arms on either side of her and, with their support, she runs up the proscenium arch and flips over to land face down on the stretched-out-in-front-of-them-forming-a-cradle-like-landing-place-arms of the other two pursuers. Let me say that again...She RUNS UP THE PROSCENIUM ARCH AND FLIPS OVER!!! It was unbeLIEVABLE. In the middle of a crowded theater I believe I actually said out loud "HOLY S**T!" (luckily the music was very loud). RUNS UP THE PROSCENIUM ARCH AND FLIPS OVER! I've done a little computer diagram of the running up the arch thing:

It was AWESOME! Truly one of the most amazing things I've seen on stage. And then came the possibly the most amazing thing I've ever seen on stage. Are you ready?

So, in the program was the following note: "All patrons attending the Saturday matinee performance of Anyone Can Whistle are invited to attend a post-performance dialogue. Members of the artistic team will be joined by musical theater historian Robert Kimball and members of the cast. The discussion will immediately follow the performance and will run approximately 45 minutes." Now, usually when there is a talk back this means that maybe an actor or two will come out and, if you're really lucky the director or writer might appear and take some questions. It's great if you're a theater person but otherwise, a lot of the time, it's not something people care much about.

So, I'm there with Mom and Dad (by the way, thanks, Mom and Dad, for being Sondheim lovers, and for bringing me along with you to all of these Sondheim shows. Have I mentioned that you guys TOTALLY ROCK?!?!) and we're talking about whether we want to stay for the talk-back. When we saw Company the first time there was a talk back that we happened to be around for and it was really cool so we decide, sure, we'll stick around afterwards and, if some of the actors come out, it'll be worth it...and if it's boring then we'll just leave. But for me, any chance to see my BB for a little while more is comPLETely worth it.

So, Mom and I run to the bathroom before the talk back and Dad hangs out with our coats in the theater. We're on this crazy long line for the bathroom when we hear a swell of applause from the crowd and I say to Mom, "Oh, I bet Sutton Foster just walked out on stage."

Then there's another swell of applause, "Oh, I bet that was Donna Murphy and my BB" and then there's a huge swell of applause, much louder than the other two swells and I look at Mom with the expression of, "yeah, I have no idea who that was for." Not two seconds later, this woman runs into the bathroom and says (probably to a friend in one of the stalls but we all benefitted from her announcement) "get out here NOW, Stephen Sondheim just walked on stage."

WHAAAAAAT!!!?!??!! God is on STAGE!!!!! To hell with the bathroom trip. There's a mad rush out of the bathroom, our bladders forgotten for the next 45 minutes and we run out to the audience, and there, no lie, not 50 feet away, was Stephen Sondheim. STEPHEN F**KING SONDHEIM!!! In the same room!!! Stephen Sondheim! No kidding, for me, it was like seeing the Beatles. I'm pretty sure there were tears. Here's my picture, which totally didn't come out but I swear to god, the white blurry dude holding the microphone IS Stephen Sondheim. It was AWESOME.

And, as if that weren't enough, the whole cast was there too. Including my BB:

He's the dark blue fuzzy dude in the middle. He's wearing a beret. Heh, a beret. How friggin' cute is my blurry BB?

ANYWAY, it was awesome. God spoke for like 45 minutes (just as the note in the program promised) about the show and the original very brief production and about changes that were made and about theater in general. The cast spoke about their involvement in the show and how they came, in the middle of all of their busy schedules, to do a very short run of a very complicated and dare I say, odd little show. It was exactly the sort of thing I love about live theater. You want a glimpse of the behind the scenes? You want to know what it was like to put it together? You want to know what they think works best and what they think isn't working at all? You don't have to wait for DVD, folks. You just have to find a show that's willing to do a talk back and HOPE that you're lucky enough for Stephen Sondheim to walk on stage. I know I keep saying it, but AWESOME! Awesome, awesome, AWESOME!

Luke Duke and Wilhelmina Slater can SING!

2010-03-28T15:24:00.009-04:00

Went to see Sondheim on Sondheim so I thought I'd enter a little review of it here on the blog. I don't think this will come as a surprise to anyone who knows me but I LOVED it. Seriously, Stephen Sondheim is a GOD!

I went expecting a revue of Sondheim songs - basically a concert - not really what I want when I'm seeing a Sondheim show, but then again, Sondheim is a god so it's not like it was going to be bad. And, don't get me wrong, concerts are great and all, it's just that I'm not a big concert fan. So, I went in expecting some great songs, sung well by some good actors and that was that...except that wasn't that. The show was so much more than a few musical theater actors wandering around the stage and singing. There was this really interesting revolving, moving set of television screens which had images and interviews playing on them. The show followed Sondheim's life roughly chronologically and playing on the screens were clips from all different interviews Sondheim has done in the past (and I suspect one or two that he did specifically for this show). He would talk about how he came up with certain songs, or why a particular song was cut from a show or altered to serve the show better and interspersed with these interviews, the actors would perform the songs he was discussing in the interviews. It was pretty cool. And the actors are extraordinary. Barbara Cook, Tom Wopat and Vanessa Williams headline the show and they are wonderful.

Now, when I saw it, it was still in previews and there were a couple of technical glitches that they were still working out. I assume by now those glitches have been un-glitched. There was only one disappointment I had with the Sondheim songs and it was regarding a song from Company. In the versions of Company that I know and love there is a song called "Getting Married Today." It is one of my all time favorite Sondheim songs. It's about a woman who is about to get married and she starts to panic and realizes that she can't get married after all and it's one of those Sondheim, tongue twisting, really fast, lyrically beautiful and funny songs that I just LOVE watching an actor really nail.

"Great, Jess, so what's the problem?" Well, the problem, dear readers, with its presence in Sondheim on Sondheim was that they did a version called "The Wedding is Off" and it wasn't the same version. In fact it was almost a completely different song. So, my issue with it was twofold. On the first fold: I wished that I was hearing the version I'm familiar with because I love it. On the second fold: It wasn't clear if they were performing a version that was originally written but never performed or if they were doing a version that was simplified for this production because the actor didn't have the time to learn the more complicated version. And, honestly, either issue would have been fine, but I wish they had explained it. Since the whole show was sort of a behind the scenes glimpse into Sondheim's work and productions, the lack of explanation about that particular song felt kind of glaring. If it was a change made specifically for this show, I rather wished that they hadn't performed it at all...That being said, that was really my only "complaint" about the whole show. It was great fun all around and, for a Sondheim buff, it was an absolute joy.

SO MUCH TO REPORT!!!!

2010-03-20T01:46:00.003-04:00

I know that everyone has been breathlessly anticipating my next posts and I have, sadly, left you all in the lurch. No longer! New posts start NOW! Although I have been absent from the blogosphere, that doesn't mean that I have been sitting with my feet up, eating bon bons and twiddling my thumbs. Much has gone on during the off-season, (can we tell that someone has been gearing up for opening day of the baseball season?), or in tv terms, much has gone on during our hiatus (someone's a tv junkie). Much of this news will be covered in greater depth in the quarterly newsletter, but I wanted to get the big news announced on the blog asap. So, let me get right to it:

THE SCRIPT
Here's the biggest news - I have FINISHED the first draft of the adaptation of Dreamers of the Day!!! Now, it is waaaaaaaaaayyyyyyyyyy too long and it's not nearly in production shape, but it was a BIG step towards getting the show off the ground. And, in the process of constructing the first draft, the production ideas and the directing ideas are a-flowing. It is VERY exciting and I'm hoping to have a pared down second draft completed by May 1st.

A DEPARTURE and AN ARRIVAL
Sadly, Stephanie Bayliss had to step down as Managing Director of GTTP. Her schedule of commitments got too crazy and she had to take a more backseat role. She is still with GTTP as a production consultant and our go-to Stage Manager, but she will no longer be involved in the day to day running of the company. We are sad to see her go but we are comforted by the fact that she did not go far. Stepping into her position, we are absolutely THRILLED to announce our new Consulting Producer, Rachel Dalton. Rachel comes to GTTP with a twin background in acting and business. Her completed bio will soon be up on the website but in the meantime, I wanted everyone to offer Rachel a rousing GTTP welcome.

WEBSITE REDESIGN
If you haven't recently taken a gander at www.goingtotahitiproductions.com, by all means, click on over. We went through a re-design of the website. It took some time to get the re-design off the ground but we're thrilled with the results. Feel free to drop us a line and let us know what you think.

THE MUCH BALLYHOOED FUNDRAISERS
You have heard here many things about fundraisers and workshops and all manner of activities which have yet to manifest themselves. I wanted to let everyone know that with Rachel on board, one of the things we are most focusing on in the upcoming weeks is locking down our 2010 calendar of events. As SOON as it is locked it will be up on the website and here on the blog so keep checking back regularly!!!

So that's the skinny. I'll post again soon.

Happy Halloween!!!

2009-11-02T00:14:00.006-05:00

Well, at the time, it was a good plan...
I hope everyone had a great Halloween filled with pumkins and scary costumes and lots of candy. Unfortunately our Halloween Party fundraiser? ...yeah, not so much with the "happening" on that front. I'm not sure if it's fundraiser fatigue, or if people just lock in their Halloween plans well in advance and so weren't able to come to our l'il fundraiser, but, whatever the reason, the Halloween Costume party for 50 turned into a quiet dinner for 4... Don't get me wrong, fun was had, but I think I need to strategize anew about fundraising in general. I did feel like turning my eyes to the heavens with an: "I get it, Universe! Thanks!" But that seemed too melodramatic. Instead I just focused on a fun evening with friends, good food, lots of trick or treaters (meaning no more candy left over from the movie night), and the Yankees winning game 3 of the World Series. All in all it was a good night...if a low key one.

So, yeah, on the fundraiser front, I'm taking a break until 2010. I have put together a rough calendar for events all through next year and as soon as I lock down some details, I will definitely publish that calendar. Maybe if GTTP takes a little break from Evites and invitations, then when we come back in January, people will be more excited to hear from us after a period of silence...hopefully folks will approach us more with an, "ooohh, Going to Tahiti is back. Where have they been?" then with an, "Oi, another GTTP fundraiser!"

That being said, here are some things I've learned. No more Evites. Look, it's a great website, very convenient and fun, but I think we've all just gotten to a point where we get the Evite and even if we open the thing for details, we just don't respond. I mean, it's not like the planner can't see that you've viewed the Evite and yet, there's a lot of viewing but not responding. I think it's the same thing with Facebook events. I think, if I use either in the future it will be in addition to individual emails, or even, dare I say it, printed invitations!!! I know, that's just plain crazy talk.

I've also decided to switch tactics. Instead of planning fundraisers only a month or so in advance, I'm going with a well reasoned and well scheduled calendar of events. I think this will be better for GTTP, both for actual money being brought in and for budgetary planning reasons. I'm putting together a fundraising budget, how much we need, how many events we're planning, and what our targets are for attendance. That will hopefully allow us to have a more, well, targeted approach for all our events. Although we've had some planning in the past, it's definitely been more slapdash than what I'm aiming for in 2010.

And, the last thing I've learned this year about fundraising (heh, this sounds like one of those "What I Learned Last Summer" essays from elementary school), but I digress...a friend had a suggestion for me that I'm totally taking her up on. Are you ready? Here it is. Going To Tahiti Productions is no longer holding "fundraisers". That's right, you heard it here first. From here on out all we're doing is "Events". I know it seems like a silly change and maybe it's just semantics, but, gosh darnit, words have power and I think after so many Evites from me with the word "fundraiser" in the title, people just got tired of seeing it...not that those people have actually come to any of the events, but I've noticed that people still get very irritated about it: "why so many fundrasiers, Jess?"

So, I'm done with fundraisers. From here on out it's all just a series of "events that cost money." Genius, I tell you, frickin' GENIUS? :)

What if you threw a fundraiser and nobody came?

2009-10-16T10:04:00.004-04:00

So we had a winetasting planned...and we were good to go next Saturday...and the place was affordable...and though it had a 20 person limit, I thought, "we can do this"...bring in some cash...really kick off the fall fundraising drive...yeah! I was psyched, psyched I tell you. I put together the Evite. I invited 128 people. I thought, "we can get 10 people to pay 60 bucks for a winetasting, no problem."

Well, actually...Big problem. I don't know if it's the economy or if it's the idea of a winetasting or maybe this is a time when people are travelling a lot? I don't know. I just know that there wasn't enough interest for folks to commit and it suddenly was not a financially viable fundraising idea so I had to cancel, :( which if you can't tell from the emoticon, makes me sad...

So, now what? Where does that leave us? Well, we're still aiming for an October fundraiser. Now we're focused on a Halloween Costume Party. Hopefully the price tag change from $60 to $10 will make a difference. I mean, come on, you go to a party and bring a bottle of wine or a 6 pack of decent beer and you're spending more then 10 bucks so hopefully people will be down for the fundraising aspect of it and we'll make some bank...even if it's just a little bank.

And, we're looking towards the next few months. I think November is out because it'll be so soon after the Halloween Party and then we're into Thanksgiving, but a Holiday Cookie Party in December? Well that might be some fun. Nothing too crazy-just picking a Saturday or Sunday afternoon and inviting people to come on by whenever they want during like a 4 hour period, roll out some cookies and bake them. Kids will be welcome. There will be wine for the grown ups and the brand new Kitched Aid I got for a wedding present can get some use...I figure people can pay $15-$20 and come away with a dozen cookies or so. We'll supply the dough and the oven and the wine and we'll have a nice afternoon holiday party...

So, hopefully that will bring in some bucks (again, we're not talking thousands of dollars but maybe a few hundred).

And, that should take us through the end of the year. I will say that with fundraising slowing to a crawl, we're looking at postponing the show a bit, which is a bummer, but I'd rather wait until we have the funds and do Dreamers of the Day in March or April or even early May, than rush it into production with one fifth of the budget we really need to make the show everything it could be.

Never fear, I'm bummed but not discouraged and I'm NOT giving up. This show, when we pull it off, is going to be FANTASTIC!!! And I am COMMITTED to making it everything I know it can be. Keep your fingers crossed that the money starts flowing. I'll keep everyone posted on progress as we go.

...AND WE HAVE A SHOW!!!!!

2009-10-07T14:00:00.011-04:00

I have an announcement I have been ITCHING to make for about two months:
It's official - we have chosen a show. We have just finalized the agreement to do an adaptation of Mary Doria Russell's novel DREAMERS OF THE DAY!

This beautiful book is about a woman, Agnes Shanklin, who, after losing her family in the 1918 influenza epidemic, goes on the trip of a lifetime to Egypt and finds that her visit coincides with the 1921 Cairo Conference. "Arriving at the Semiramis Hotel just as the Peace Conference convenes, Agnes, with her plainspoken American opinions and a small, noisy dachshund named Rosie, enters into the company of the historic luminaries who will, in the space of a few days,...invent the nations of Iraq, Syria, Lebanon, Israel, and Jordan." As she says in the opening of the novel her "little story has become [our] history." And it's only through understanding her times, that we can start to get a grasp of our own.

What we're planning right now, is to adapt the novel into a one woman show. It is a story told completely from Agnes Shanklin's perspective so it's ripe for solo possibilities, but that could always change as we get into the meat of the adaptation - we'll see. We're planning to do a whole multi-media kind of thing with still and moving projections, music from the times, and hopefully some exciting, (but not too expensive) design elements to the set, costumes and props.

I have already begun work on the adaptation and there will probably be many posts of me fumbling around as I figure out how to make it work. You see, I've never done an adaptation of this nature. I'm excited (or as Little Red says "excited and scared") to jump into this challenge. I may have assistance in the adaptation and I may be throwing out questions here to get some help on specific issues that come up as I work - so as I post questions, if anyone's out there, I'd love to hear from you.

A word about Mary Doria Russell. If you have never read any of her novels - do so NOW! Hands down, she is one of the very best fiction writers out there right now. Though her books cross different genres and topics, they all share one very special trait, they are all beautifully, gracefully, movingly written. THE SPARROW, CHILDREN OF GOD, THREAD OF GRACE and DREAMERS OF THE DAY are 4 wonderful, amazing, powerful books and I am anxiously awaiting her next one. We are SO honored that Ms. Russell has given us permission to adapt her beautiful book - that she has trusted us with one of her babies. We will nurture it and care for Agnes' story as if it were our own and cannot wait to see the final product when we get it on its feet!

So, not so much a drive in...

2009-09-13T16:08:00.002-04:00

Yup, the rain got us again. In fact, it rained all day on Friday, (and most of the night) so about 11am we decided to change the outdoor "drive-in" to an indoor "Tahiti Cinemas" night. We transformed the apartment into a little movie theater (15 seats to be exact - 6 on comfy couches). We hung up a screen (actually an old white sheet from my massage school days) and set up the back bedroom of our apartment as a concession stand. We ran Christmas lights along the "aisle" to the bathroom. And, just for the fun of it, I dressed in a whole 50's style to celebrate the heyday of the drive-in.

Unfortunately the rain and people's jobs kept the crowd small, but what the group lacked in size, they more than made up for in enthusiasm. It was great fun and definitely something we'll do again. It's nice to know that we can do it rain or shine. I think we're going to add the Movie night - whether outside or in - to our roster of Living Room Series Fundraisers. I do think that in the future we definitely need to find a way to insure that we get as close to the max number of people we can fit at these things as possible and that is something I'm still figuring out. But, I think the most important thing for us is to keep plugging away, not get discouraged and persevere. Rome wasn't built in a day and neither was any theater company...

Drive In Fundraiser Countdown...

2009-09-05T17:04:00.007-04:00

So, we're now within a week of the fundraiser and it's close enough to the date to check the 10 day report on weather.com. Right now it looks like we have clear skies until Friday, the day of the fundraiser, and then they're predicting a 30% chance of precipitation...It could be worse, and it's still early but if anyone out there has a special relationship with the weather gods, I'd appreciate you putting in a good word for GTTP and our attempts to bring in some funds for our next production.

Also, Steph and I had a meeting with this wonderful little restaurant/wine shop in the East Village and we're about 75% sure we're going to do our winetasting fundraiser on October 10th. If it works the way we're planning, it'll be a great afternoon. It will start around 2pm and there will be 8 or 9 wines to try, all with a selection of bread, cheese, meats and bruschetta/salads. John and I went to a winetasting fundraiser at this same place a year and a half ago and it was a great day all around. Hopefully the GTTP winetasting will be similarly great. As soon as the papers are signed and we're definitely a go, I'll send out emails/invitations/facebook posts...but in the meantime, keep October 10th free.

To Recap:

If the Drive-In goes well and the winetasting happens, we'll have about 20% of our next show's budget in the bank and we'll be heading in to the fall/winter in really good shape.

We are undaunted...

2009-08-31T18:25:00.005-04:00

We have rescheduled the Drive-in night. Yay! It will be a week from Friday on the 11th and this time we're doing it rain or shine. When we first scheduled the event, I felt like I had pushed my luck with my last rain or shine event (my wedding). We had lucked out and had beautiful weather and didn't need to be in the tent, but I didn't want to push it again for the drive-in night...However, since I tried to play ball with the weather gods and the weather gods sent me Hurricane Bill, I've decided this time not to bother and just roll the dice. Don't get me wrong, I'm still hoping for a beautiful early fall evening...but, if the weather gods decide again not to smile on us...well then, inside we will go.

Once we decided to reschedule we had the whole, "which weekend should it be?" discussion and decided that since most people wouldn't be around for Labor Day Weekend, that was out. We didn't want to wait more than three weeks from the original date so that put us on the weekend of the 11th. We really wanted it to be on a Friday and though we had some reservations about doing it on September 11th, in the end we decided that it was better to offer a fun activity for people to go out to. Hopefully folks will want to come out and be with friends.

Now that we're doing it rain or shine, I'm starting to get really excited. The popcorn is still ready to be popped, we still have the beer, wine and soda and the movies are ready to go...I will admit that I may need to get some more candy (someone, who shall remain nameless, but looks exactly like the person writing this post, may have been dipping in to the tootsie roll and twix bar stash. Heh.) but other than that I think we're good to go.

Stupid Hurricane Bill!

2009-08-22T16:28:00.004-04:00

Had to cancel the Drive-In movie night because of the threatening weather. What sucks the most, aside from the fact that I have a good 5 pounds of candy in the fridge, as well as cases of beer and soda, is that it's not ACTUALLY raining right now. Instead, weather.com is predicting an 85% chance of rain from 8pm on. So, because I think it would be worse to have people show up, pay their money, hustle them inside 30 minutes into the first movie and pray for the rain to stop rather than to just postpone the whole event altogether, postpone is what we decided to do. Hopefully, we can find a night in September that will work out better for us. On the flip side, because I'm all bummed, John has decided to take me out to a nice dinner to cheer me up, so, you know, that's kinda awesome. I'll keep everyone posted about the updated date as soon as it gets, um, updated. :)

Cross your fingers one and all

2009-08-20T17:14:00.004-04:00

So, the popcorn and candy are ready for the concession stand, the projector and the movies are in my possession, the chairs are in the backyard and the intermission "movie" is on a dvd and good to go. In other words, we are ready to hold a kick ass drive-in fundraiser...if only hurricane bill can hold off hitting ny until 1 am Saturday morning, we'll be good to go!

Drive In Movie Night

2009-08-18T18:43:00.005-04:00

Popcorn bags have been purchased! Now I just have to remember how to pop popcorn on a stovetop...I mean really, in today's day and age does anyone have popcorn that isn't made in the microwave? I'm missing the days of living with Terri - the best stovetop popcorn popper on the planet!!! I'm not exaggerating. In fact, I may have to email her to have her walk me through the process.

Once I solve the popcorn issues, we should be in pretty good shape. I am worried about rain - the weather report is not encouraging right now and in the dog days of summer, it's really hard to know when a thunderstorm will suddenly kick up...not that that's a problem...unless, of course, you're hoping to do the whole drive-in-movie-under-the-stars thing, which is the entire point of this fundraiser. But, I guess I just have to accept that there are things I can control and things that I 100% cannot and the weather is one of those things that falls into the latter category. I'll just have to hope for the best.

Hello Again...

2009-08-17T16:23:00.011-04:00

Ok, so I have been woefully remiss in my blogging duties. I found when I first started this blog, that, as I feared, it quickly became like all of those "journalling" assignments I had in college writing/theater classes...You know those assignments where you were supposed to make regular entries about what was happening as it was happening and turn them in to the professor at the end of the semester. You know the ones where you'd put all the writing off until the night before it was due, when you would write a semester's worth of entries - preferably in different colored pens so it didn't look like you wrote all the entries the night before - and turn that in hoping that the sheer volume of text would get you the pass...oops, did I just reveal too much of my journalling college days? ANYWAY, I have found that my need to make every blog entry a tome has prevented me from regularly making updates. THEREFORE, I have decided to knock that craziness off. After this entry, I'm going to wave a wand and make it ok for me to keep the entries short. So a quick update, (which will probably not be quite so quick) and then I'm turning over a new "brief blog" leaf...no, I'm not giving in to the twitter madness (this pronouncement should last for at least a few weeks) but brief should be the name of the game from now on. Hee.

THE UPDATE

LIKENESS
As you can see from the GTTP website, LIKENESS went very well. It was a crazy rehearsal period but the run went well and I learned so much from my experience on that show. The cast and crew were incredible and I feel like I have made some wonderful connections to fill out the company of actors and crew that will one day make the company of Going to Tahiti Productions a viable entity.

The Big Production of the intervening months
As some of you know, one of the reasons I've been a bit in communicado was because I was working on a private production during the months between the end of LIKENESS and the beginning of summer. What production was it (you ask) - I was getting married. Definitely the biggest production of my life up until this point, the wedding was planned and executed by non professionals (me, John, Beth, and other friends and family) so it took a lot of energy and time (in other words - all of my time and energy - thank god I didn't have a full time job at the time). It went very well - actually better than I could have even hoped for - so it was well worth it...but the build up to the event and then the come down after it was over have been very intense and it wasn't until about a month ago that I really was in a place emotionally to get back into the whole "running a production company" thing. However, I am back in full swing now and that should be reflected in the updated blog.

I've decided to look at the time from February until now as the off season. That being said, pitchers and catchers have now reported - regular season play is about to begin again. (little baseball reference for all those ball fans.)

Other Off Season Occurences
Some of you may already know this from the periodic newsletters you've received by email (If you do not receive the newsletters, go to GTTP and add your contact information to our mailing list by filling out the contact us form) but for those of you who haven't heard (and those who'd like a refresher):

Stephanie - Stephanie Bayliss has joined Going To Tahiti Productions as the Managing Director and Co-Executive Producer. For details about Stephanie, check out the About Us page on the GTTP website. GTTP is very excited to have Stephanie on board as part of the team.

Fundraising - Fundraising is continuing. We have a drive in movie night this Friday - pray for nice weather - as our August fundraiser. We are in the process of planning monthly fundraisers. Possible future fundraisers include - a winetasting, an adult spelling bee, a gala party, a game night tournament, a few house concerts and more... If you have any ideas for fundraisers that you'd be interested in seeing - let us know.

Workshops - We're in the process of setting up monthly workshops. Right now we have plans for workshops in the following areas: directing, stage managing, clowning, stage combat, auditions, and improv. Keep an eye on the website for more details as dates, times and costs get locked down for workshops.

Our next show - We're in the process of obtaining the rights to a novel which we are going to adapt into a one woman show - I'll keep everyone posted as things develop.

...and, I believe, that's all for now.

Likeness Update

2008-12-19T22:04:00.003-05:00

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!

LIKENESS - What's next...

2008-11-16T15:57:00.004-05:00

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.

The Party's Over...for now

2008-10-30T02:48:00.010-04:00

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.

Week 2

2008-09-26T15:40:00.004-04:00

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.

"Tonight Tonight Won't Be Just Any Night..."

2008-09-18T10:02:00.003-04:00

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!!!!!

One Week Down

2008-08-28T15:24:00.003-04:00

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!

The August 23rd Fundraiser...or not...

2008-08-20T10:00:00.005-04:00

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)

The crew is assembled...

2008-08-20T09:40:00.004-04:00

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!

...and we have a cast

2008-08-20T09:31:00.005-04:00

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!!!

Quick Update - Auditions

2008-08-06T11:42:00.004-04:00

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!

WE HAVE LIFTOFF!!!

2008-08-01T17:12:00.003-04:00

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.

The Search for Space

2008-07-05T09:39:00.003-04:00

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.

Singing the Fundraising Blues

2008-06-08T15:56:00.006-04:00

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.

But what about the WOMEN? GTTP's REAL purpose

2008-05-02T09:57:00.007-04:00

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.

Sunday In The Park With George

2008-05-02T09:49:00.006-04:00

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...

Where are we now?

2008-04-28T17:01:00.003-04:00

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.

So what's this show you've mentioned?

2008-04-21T09:24:00.000-04:00

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.

The Joys of Fiscal Sponsorship

2008-04-14T11:37:00.000-04:00

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.

Why I Snapped and What I Decided to Do About It

2008-04-13T15:34:00.000-04:00

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...

How I got here...cont. (ok, so maybe you will need can goods for this story)

2008-04-06T12:30:00.000-04:00

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...

Entering the Blogosphere - officially

2008-04-02T10:07:00.001-04:00

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.