Hey there, fearless reader(s) -
We hope you're doing swell and enjoying 2009 ... we're still taking it easy and are focusing on rearin' the little crow girl, Clara. You can read more about day to day happenings with Clara at Rebecca's blog, Terroristic Optimism, should you wish. She's pretty neat, if we do say so ourselves. And we do.
We've got a couple of ideas for future productions being considered. Yes, William Shakespeare, The Gentleman is totally being discussed. Stay tuned for a reading announcement. It's gold, Jerry. Gold. We also have another comedy in mind, too ... my, how lighthearted we're getting! A baby joins the ranks and all you want to do is make the people smile! Huh.
We'd like to open up the floor to see what you might like to see. What production would you like GreyZelda to put up? How do you think it would fit with our mission and general aesthetic? Are you a director with an idea? Are you a writer looking to find a theatre for your show? Are you an actor dying to act in your dream play? A designer with a grand scheme? We dunno. Talk to us. Let us know your thoughts.
You know who we'd really love to hear from? A composer looking to collaborate ... that's what we'd really like for Christmas, we think.
So, yes ... we're in thinktank mode. We're looking forward to brainstorming with you.
Yours,
GZ
Saturday, February 21, 2009
Tuesday, December 23, 2008
The Year Remembered, or…The Time When I Overdosed on Spray Paint Fumes.
(Guest Post from C. Riter)
It always feels necessary when writing about the past that you portray some sense of newly found wisdom, self – knowledge previously unrealized, or that your soul has been touched with a slow revelation about the human condition, the struggle for enlightenment, etc, etc…blah blah blah. A lot of the time it feels like when I read, or write, these remembrances that there is a terminus. When recalling the year just lived you get a feeling that all learning, introspection, self-assessment and moving forward consciously suddenly halts and the screen goes blank and the dials are set to zero again. The reports are turned in to silent managers and accountants who record the earnings and dues in ledgers scrawled across pages with the forgotten memories of millions of others. The train has pulled in to Union Station of Memory. All riders must depart. Next train leaves tomorrow, first stop, Union Station of Id en route to Union Station of Plantar Wart.
I can't pretend to have any profound bits of personal awareness to share with other people this year. I haven't fooled myself into thinking that the big picture is a little more in focus after another three hundred and sixty five days and nights. That, in turn, makes me think that maybe I've never been much on the big picture anyway. It's not that I don't see it. I know it's there. I just don't give a fuck about looking at it right now. You see the problem is that there's so many damn people in front of me trying to see it too, pushing and shoving, being rude, wiping their noses then shaking your hand, elbowing you in the face then looking back as if their blank mongoloid expressions are supposed to convey an apology, or at least some humanity, then turning away again, eyeballs bulging to see it, necks craning, hands waving, dancing in some meaningless and hollow celebration. The importance, the purpose of it all is right there. For sale. Look at it, and keep looking. Maybe I'm some kind of Zen Nihilist. Anyway, all I can do is recall the last three sixty-five with as much clarity as is allowed by Mr. Evan Williams (have you heard I'm unemployed?).
The story Twenty-Ought-Eight began with a great last quarter of Twenty-Ought-Seven. I made some new friends and got back together with some old ones. My buddy Aris Tompulis took on Eddie Carbone for A View From The Bridge and my old friend, roommate, and collaborator from W.V. Ed French joined the GreyZelda ranks as the D.P. for the filmed portions of the show. I also got to know Ravin Dave Lykins, who played Alfieri, on a personal and professional level and feel like I've been a better person ever since because of it. We started rehearsing that October and filmed in the first week of November. The rest of the cast included new and old as well. Good old friends Tom Gordon and Dave Goss were paired with new friends Gene and Nicolle Van Dyke, Holly Micelli, and Kelly B. The show went up at StageLeft on January 3 to great responses from audience and reviewer alike. Heath Hays and Julie Ballard continued to impress Chicago with their work on set design and lighting respectively. Overall, I think it's the piece of directing work that I'm most proud of so far. But, I'm not one to spout on about my feelings of accomplishment, or my process. Rather, I look back in appreciation at the great work everyone involved put forth and am truly reminded about how symbiotically cool it is when collaborative art works out. We all benefit and become better from the endeavor. I am better for having been and worked with them. They've heard it before so I'll stop.
Here's where it gets a little crazy. Around this time we found out BZ was carrying our progeny. As my full-on partner in crime, BZ is always in the mix of things regarding our productions, but this go round she had stand back a little bit due to some unforeseen complications with the pregnancy. As it turns out, strenuous work isn't very good for pregnant mothers and a couple of days before opening night our little baby (just an embryo then, but how fragile these negligible moments seem later on, for she was very close to not being born at all) had become detached from her mothers uterine wall, the lifeline, the well to her life that was to be. That being said, BZ did everything humanly possible to handle all things administrative regarding the show, and as always performed swimmingly.
The big challenge was in April. BZ still had to direct The Skriker, a show that spanks Views l'il ass like a red head stump chile in terms of directorial commitment and vision. The good news is that she had Lisa Wilson to play The Skriker and that was probably one of the luckiest things GreyZelda ever had happen to her. Lisa completely made the show her own with what may be one of the most physically and mentally challenging roles put to paper. And again, BZ continues to teach me the art of directing when I work with her. Her ability to create vast and specific worlds out of blank, black spaces still intrigues me and makes me enormously envious of her ability. The cast for Skriker was also as lot of fun to work with and I enjoyed working two separate analogue two-scene pre-set boards to run the lights on. Because of that, I can say that for the first time, as a light board operator, I felt like I had an organic influence in the flow of every show…for better or worse.
Suffice it to say that Lisa leaving Chicago was a huge blow to GreyZelda. Never have we had a stronger supporter, collaborator, contributor, colleague, and friend than her. She will always be with us and welcome to come in and get dirty with it. BZ and I will miss her and her Beau Dave McCaul, who both moved to Seattle. Dave formed a band called SuperSideways that played in our basement once and is now posthumously remembered by such recordings as the one you can listen to on Chicago Acoustic Underground right here.
Also, the day preceding load-in for Skriker I ended up over-exposing myself to critical amounts of toxic fluorocarbons and lots of other just-plain-evil-and-malevolent shit contained in spray paint. See it was raining that day, and like I said, load in was the next day. The decorative wrought-iron that we used to create the antebellum looking proscenium for Skriker was, well – iron colored, and it needed to be white colored. So, I built a paint tent off of my back stoop with drop cloth held in place by clamps from the awning over the sidewalk and spray painted some wrought-iron, which were many pieces, for like…over an hour, or two. The thing about spray painting inside a tent, as I'm sure you can surmise, is that there's no place for the fumes to go. Unless you count inside my body. When I was finished, I had spray paint lining my nostrils and filling my mustache, presumably from the inhalation. I passed out for a second and decided maybe it was time to stop. I scrubbed my nose and mouth with Fast Orange, went inside and took a shower, almost lost control of some bodily functions, puked a little, listened to the wah wah wah wah wah sound in my head for a bit (like wippits, except not fun kids) and had to focus for a little while on how to use my legs for the walking function. The moral of the story folks, is, if you're going to spray paint for hours on end, do it in a ventilated area. That stuff about masks; useless, don't believe it. Unless you enjoy the aforementioned symptoms, then it's a real hoot so spray away and inhale deeply. Sorry, did I mention the headache sent from the torments of the worst hell ever envisioned? No? Oh, well, too late.
Later on, BZ had the baby and that story requires another set of blogging ambitions. The list of names included Delilah, Violet, Mina, Clara, and Virginia. Clara won and Virginia took second and got the middle name. I witnessed her arrival upon the surface of Earth with my own eyes on 08/23/2008 and saw BZ display more strength and resolve than I'd ever thought imaginable from such a delicate and tender creature….Who am I kidding? She's a powerwagon. But it was the most grueling thing I've ever seen someone endure and she'll forever have my respect and honor for it.
Clara is the most precious and wonderful thing that could happen to me. I'm constantly amazed at the look of pure innocence and joy her smile brings. She has created an entirely new inner world for me. The inner world that is my imagining her life, the kind of mind I wish for her, the ways I can help her attain it, the world-view she'll develop over time, how she'll interact with others…the way that I'll factor into all of these factors. Suffice it to say, I'm fulfilled by her. I feel like, no matter how big a piece of shit I think I am sometimes, she makes me feel worthy. I've never been happier in all my life and I owe it all to her.
Later in October, I got let go from my job because my presence was deemed no longer "mutually beneficial". That one still gets a chortle from me. Anyway, I got approved for unemployment benefits after six weeks of red tape and Kafkaesque bureaucratic nonsense and we got the whole family covered for insurance on AllKids (thanks Blago). Knock on wood, for awhile bills and necessities should be covered as long as we're frugal, which honestly, we were to begin with. In the meantime, I love being home with my little family. Seeing Clara everyday is a constant joy and Becky and I always entertain each other pretty well.
I've begun work on writing a new play about my drug-study days and hope to re-write Thimbleberry Gallows. I'm also building a model of a '41 Ford pickup and love watching the Blackhawks. Yep, I'm a fucking dork friends. Maybe we'll all just have to get used to it, or maybe, I've always been this way and nobody's ever let me in on it. Oh yeah, and some time in there my man Barack Obama swooped in and took back the executive branch in the name of sanity and all things good about America. So overall, despite some hardship, I'm feeling decidedly optimistic about the upcoming year.
For those I love and haven't seen for awhile, let's get together and drink some whiskey in a seedy Chicago bar soon, or at least just talk while I still have the time. For all the others; the ones forgotten, forsaken, and forgone; I wish you good luck going about your way. Just stay out of mine.
Best wishes and happy new year,
The O.G.
It always feels necessary when writing about the past that you portray some sense of newly found wisdom, self – knowledge previously unrealized, or that your soul has been touched with a slow revelation about the human condition, the struggle for enlightenment, etc, etc…blah blah blah. A lot of the time it feels like when I read, or write, these remembrances that there is a terminus. When recalling the year just lived you get a feeling that all learning, introspection, self-assessment and moving forward consciously suddenly halts and the screen goes blank and the dials are set to zero again. The reports are turned in to silent managers and accountants who record the earnings and dues in ledgers scrawled across pages with the forgotten memories of millions of others. The train has pulled in to Union Station of Memory. All riders must depart. Next train leaves tomorrow, first stop, Union Station of Id en route to Union Station of Plantar Wart.
I can't pretend to have any profound bits of personal awareness to share with other people this year. I haven't fooled myself into thinking that the big picture is a little more in focus after another three hundred and sixty five days and nights. That, in turn, makes me think that maybe I've never been much on the big picture anyway. It's not that I don't see it. I know it's there. I just don't give a fuck about looking at it right now. You see the problem is that there's so many damn people in front of me trying to see it too, pushing and shoving, being rude, wiping their noses then shaking your hand, elbowing you in the face then looking back as if their blank mongoloid expressions are supposed to convey an apology, or at least some humanity, then turning away again, eyeballs bulging to see it, necks craning, hands waving, dancing in some meaningless and hollow celebration. The importance, the purpose of it all is right there. For sale. Look at it, and keep looking. Maybe I'm some kind of Zen Nihilist. Anyway, all I can do is recall the last three sixty-five with as much clarity as is allowed by Mr. Evan Williams (have you heard I'm unemployed?).
The story Twenty-Ought-Eight began with a great last quarter of Twenty-Ought-Seven. I made some new friends and got back together with some old ones. My buddy Aris Tompulis took on Eddie Carbone for A View From The Bridge and my old friend, roommate, and collaborator from W.V. Ed French joined the GreyZelda ranks as the D.P. for the filmed portions of the show. I also got to know Ravin Dave Lykins, who played Alfieri, on a personal and professional level and feel like I've been a better person ever since because of it. We started rehearsing that October and filmed in the first week of November. The rest of the cast included new and old as well. Good old friends Tom Gordon and Dave Goss were paired with new friends Gene and Nicolle Van Dyke, Holly Micelli, and Kelly B. The show went up at StageLeft on January 3 to great responses from audience and reviewer alike. Heath Hays and Julie Ballard continued to impress Chicago with their work on set design and lighting respectively. Overall, I think it's the piece of directing work that I'm most proud of so far. But, I'm not one to spout on about my feelings of accomplishment, or my process. Rather, I look back in appreciation at the great work everyone involved put forth and am truly reminded about how symbiotically cool it is when collaborative art works out. We all benefit and become better from the endeavor. I am better for having been and worked with them. They've heard it before so I'll stop.
Here's where it gets a little crazy. Around this time we found out BZ was carrying our progeny. As my full-on partner in crime, BZ is always in the mix of things regarding our productions, but this go round she had stand back a little bit due to some unforeseen complications with the pregnancy. As it turns out, strenuous work isn't very good for pregnant mothers and a couple of days before opening night our little baby (just an embryo then, but how fragile these negligible moments seem later on, for she was very close to not being born at all) had become detached from her mothers uterine wall, the lifeline, the well to her life that was to be. That being said, BZ did everything humanly possible to handle all things administrative regarding the show, and as always performed swimmingly.
The big challenge was in April. BZ still had to direct The Skriker, a show that spanks Views l'il ass like a red head stump chile in terms of directorial commitment and vision. The good news is that she had Lisa Wilson to play The Skriker and that was probably one of the luckiest things GreyZelda ever had happen to her. Lisa completely made the show her own with what may be one of the most physically and mentally challenging roles put to paper. And again, BZ continues to teach me the art of directing when I work with her. Her ability to create vast and specific worlds out of blank, black spaces still intrigues me and makes me enormously envious of her ability. The cast for Skriker was also as lot of fun to work with and I enjoyed working two separate analogue two-scene pre-set boards to run the lights on. Because of that, I can say that for the first time, as a light board operator, I felt like I had an organic influence in the flow of every show…for better or worse.
Suffice it to say that Lisa leaving Chicago was a huge blow to GreyZelda. Never have we had a stronger supporter, collaborator, contributor, colleague, and friend than her. She will always be with us and welcome to come in and get dirty with it. BZ and I will miss her and her Beau Dave McCaul, who both moved to Seattle. Dave formed a band called SuperSideways that played in our basement once and is now posthumously remembered by such recordings as the one you can listen to on Chicago Acoustic Underground right here.
Also, the day preceding load-in for Skriker I ended up over-exposing myself to critical amounts of toxic fluorocarbons and lots of other just-plain-evil-and-malevolent shit contained in spray paint. See it was raining that day, and like I said, load in was the next day. The decorative wrought-iron that we used to create the antebellum looking proscenium for Skriker was, well – iron colored, and it needed to be white colored. So, I built a paint tent off of my back stoop with drop cloth held in place by clamps from the awning over the sidewalk and spray painted some wrought-iron, which were many pieces, for like…over an hour, or two. The thing about spray painting inside a tent, as I'm sure you can surmise, is that there's no place for the fumes to go. Unless you count inside my body. When I was finished, I had spray paint lining my nostrils and filling my mustache, presumably from the inhalation. I passed out for a second and decided maybe it was time to stop. I scrubbed my nose and mouth with Fast Orange, went inside and took a shower, almost lost control of some bodily functions, puked a little, listened to the wah wah wah wah wah sound in my head for a bit (like wippits, except not fun kids) and had to focus for a little while on how to use my legs for the walking function. The moral of the story folks, is, if you're going to spray paint for hours on end, do it in a ventilated area. That stuff about masks; useless, don't believe it. Unless you enjoy the aforementioned symptoms, then it's a real hoot so spray away and inhale deeply. Sorry, did I mention the headache sent from the torments of the worst hell ever envisioned? No? Oh, well, too late.
Later on, BZ had the baby and that story requires another set of blogging ambitions. The list of names included Delilah, Violet, Mina, Clara, and Virginia. Clara won and Virginia took second and got the middle name. I witnessed her arrival upon the surface of Earth with my own eyes on 08/23/2008 and saw BZ display more strength and resolve than I'd ever thought imaginable from such a delicate and tender creature….Who am I kidding? She's a powerwagon. But it was the most grueling thing I've ever seen someone endure and she'll forever have my respect and honor for it.
Clara is the most precious and wonderful thing that could happen to me. I'm constantly amazed at the look of pure innocence and joy her smile brings. She has created an entirely new inner world for me. The inner world that is my imagining her life, the kind of mind I wish for her, the ways I can help her attain it, the world-view she'll develop over time, how she'll interact with others…the way that I'll factor into all of these factors. Suffice it to say, I'm fulfilled by her. I feel like, no matter how big a piece of shit I think I am sometimes, she makes me feel worthy. I've never been happier in all my life and I owe it all to her.
Later in October, I got let go from my job because my presence was deemed no longer "mutually beneficial". That one still gets a chortle from me. Anyway, I got approved for unemployment benefits after six weeks of red tape and Kafkaesque bureaucratic nonsense and we got the whole family covered for insurance on AllKids (thanks Blago). Knock on wood, for awhile bills and necessities should be covered as long as we're frugal, which honestly, we were to begin with. In the meantime, I love being home with my little family. Seeing Clara everyday is a constant joy and Becky and I always entertain each other pretty well.
I've begun work on writing a new play about my drug-study days and hope to re-write Thimbleberry Gallows. I'm also building a model of a '41 Ford pickup and love watching the Blackhawks. Yep, I'm a fucking dork friends. Maybe we'll all just have to get used to it, or maybe, I've always been this way and nobody's ever let me in on it. Oh yeah, and some time in there my man Barack Obama swooped in and took back the executive branch in the name of sanity and all things good about America. So overall, despite some hardship, I'm feeling decidedly optimistic about the upcoming year.
For those I love and haven't seen for awhile, let's get together and drink some whiskey in a seedy Chicago bar soon, or at least just talk while I still have the time. For all the others; the ones forgotten, forsaken, and forgone; I wish you good luck going about your way. Just stay out of mine.
Best wishes and happy new year,
The O.G.
Friday, December 19, 2008
GreyZelda's Year in Review from a Mom's Bird Eye View
In attempting to lasso all my remembrances of 2008 I realized that, from January on, that this year has been all about Clara Virginia. She was born on August 23 and our world has been turned on its ear in the most wonderful ways. I'm going to write about GreyZelda from the only perspective I have these days, which is that of a new mom. I was pregnant during both of our shows this year so my outlook was quite a bit different. I warn you, dear readers, that the following might contain too much mom information for your liking and sensibilities, but ... that's the way I roll these days. I'm going to try to cajole Chris to write an entry about his reflections as well.
I found out I was 7 weeks pregnant with Clara at the beginning of January when we were moving A View from the Bridge into Stage Left Theatre. I had lunch with Rebekah at Pick Me Up Cafe, which is right across the street from Stage Left, while our respective husbands worked on getting the set up. She was the first person, other than Chris, that I told about the pregnancy and because we had had a wonderful day searching for last minute props at Target and Lost Eras, I was inspired to share the news. We talked about parents, theatre, babies and the future.
The play opened and we told a few more people that we were pregnant, but we had a scare during opening weekend which kept us mum from spilling the beans to everyone involved in the show. I had started bleeding heavily after helping out with the set and the load-in. One of our cast members was in the bathroom with me during intermission while I was silently freaking out and asked me what I thought of the acting that night ... the person, of course, was doing a wonderful job and I told the person so, but ... I had other concerns on my mind and was hoping that everything was ok...I probably sounded a little weird when I answered. I went to a fetal specialist the following day and discovered that the embryo had separated from the placenta but it was still fine and, with a few weeks of bed rest, it would most likely reattach itself to the uterine wall and would continue growing but there was still the chance of a miscarriage. Dear God. So, I had to excuse myself from helping out backstage and with box office. Thankfully, Melissa Kuhlmann filled that position almost every night and Lisa Wilson filled in when she couldn't. Holly Micelli rocked out as the Stage Manager and Chris did the lights, sound and video, so my help wasn't needed, to be quite honest. I just chilled at home, took reservations, managed Ovation Tix and attempted to produce the show as much as I could from behind the computer screen and on the phone. Clara, being the tenacious wonder that she is, reattached herself and the pregnancy continued as normal. I'm so thankful for the support of our friends and family during that time. It was pretty scary for me.
I was set to direct The Skriker in the spring but wondered if I would be able to do it. I had always wanted to be the type of pregnant woman who could do everything, but discovered that wasn't going to be the case. I really needed to take it easy and focus my energies on creating the healthiest baby I could. I wanted to keep myself cool as a cucumber and avoid the stresses that often accompany a production. I strengthened myself up mentally and, with the help of Chris and Lisa, I decided to go ahead and direct the show. We held auditions in February and selected an amazing group of ladies and one guy.
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The rehearsal process went smoothly, the design staff was exceptional and my dear husband helped me keep my sanity during the whole process. I lost my cool a couple of times with folks not directly involved in the production and I could blame it on hormones being all over the place, but that seems too easy. I realized during my pregnancy that I didn't have much of a filter and I could say that I regret my actions but that would be lying. Would I do it again? Yes. Would I do it again to the extent I did it? Probably not. Do I feel like I should apologize for my actions? Not at this point. Would I like to move forward? Most definitely.
In June, we attended the Jeff Awards for the first time to celebrate Nicolle Van Dyke's nomination for Best Supporting Actress. Her portrayal of Beatrice in A View from the Bridge was so honest, so raw, so supportive and so touching. It was an honor to be with her that evening and I'm still elated that her first role in years garnered her a nomination from the Jeff committee. Melissa Kuhlmann and Tom Gordon also were there to support her, along with Gene, her husband, so we had a grand turnout from the GreyZelda peeps.
And, that, as they say was that in terms of mingling with the theatre community this year .... I did get a chance to see The Mammals'Clay Continent, Point of Contention's Radium Girls, Kat Daniels in a show at the Irish Heritage Center (can't think of the title right now ... I think my brain's still a little smaller from the pregnancy) and, of course, Our Town, which, like the rest of Chicago's audiences, I adored. I said to Chris before I left, "If I don't like this show and if it gives me the same 'meh' feeling I've gotten from so many other shows the last few years, than something's seriously wrong with me and I've lost my love of theatre." Our Town delivered, I was moved to tears and I couldn't stop gushing about it when I returned home. Thank you, David Cromer and The Hypocrites, for being that spark that reminded me why I am attracted to this art form.
Which leads me to the present and our future ...
Internally, we've shuttered the doors and windows for a spell. Lisa Wilson, a company member who was with us from One Flea Spare, moved to Seattle with dear Dave McCaul in August and that's created a pretty big void as she was a huge supporter and collaborator with the company as well as being a creative, driving, inspirational force of an artist and friend. We've got an incredible pool of actors, designers, etc who have helped keep our company strong, but we don't have the driving force to keep this going right now while I'm home rearin' our dear baby girl. Chris and I, in the meantime, are blowing off the dust from our Metamorphosis adaptation and our original play, The Thimbleberry Gallows. We're going to rework and take the editing knife to them. We might send the scripts out after we're finished to see if anyone would like to take a swing at producing them. Chris is also starting work on a play that's been rumbling around in his noggin for several years. There's been some very light talk of joining forces with another theatre company in town. Basically, it comes down to this: Chris and I have been a team and we've been able to to work and produce shows together. Now, we have a little girl on the scene that we want to devote the majority of our time to. In order to get things rolling theatrically again, we need another person who is willing to devote as much time and energy into the company as we have so that Chris and I can swap out responsibilities instead of doing the majority of the behind-the-scenes roles and responsibilities.
I'm not sure what 2009 holds for us at this point ... Chris lost his job in October and is still on the job hunt. I'm not quite ready to go back to work because I love being Clara's mom full time. We're going day to day, at this point, and hope that we have enough money from Chris's unemployment to pay our bills, rent, etc. So, thinking about what we're going to produce next is very far down on our list of priorities. I'm sure we'll figure out the balance and I hope that's sooner than later but, right now, we're just trying to survive and take care of Clara, who is a pure ray of happiness and fills our world with wonder and warmth.
In closing, I'd like to say that we hope that your Winter and Holiday Season proves to be merry and bright. Enjoy your family. Enjoy your friends. Enjoy your respective companies. Try to escape to the theatre when you get the chance. Support your local Storefront scene. Be there for each other and appreciate those that surround you. Give each other support, love and kind words.
It's been an incredible year and thanks for reading.
I found out I was 7 weeks pregnant with Clara at the beginning of January when we were moving A View from the Bridge into Stage Left Theatre. I had lunch with Rebekah at Pick Me Up Cafe, which is right across the street from Stage Left, while our respective husbands worked on getting the set up. She was the first person, other than Chris, that I told about the pregnancy and because we had had a wonderful day searching for last minute props at Target and Lost Eras, I was inspired to share the news. We talked about parents, theatre, babies and the future.
The play opened and we told a few more people that we were pregnant, but we had a scare during opening weekend which kept us mum from spilling the beans to everyone involved in the show. I had started bleeding heavily after helping out with the set and the load-in. One of our cast members was in the bathroom with me during intermission while I was silently freaking out and asked me what I thought of the acting that night ... the person, of course, was doing a wonderful job and I told the person so, but ... I had other concerns on my mind and was hoping that everything was ok...I probably sounded a little weird when I answered. I went to a fetal specialist the following day and discovered that the embryo had separated from the placenta but it was still fine and, with a few weeks of bed rest, it would most likely reattach itself to the uterine wall and would continue growing but there was still the chance of a miscarriage. Dear God. So, I had to excuse myself from helping out backstage and with box office. Thankfully, Melissa Kuhlmann filled that position almost every night and Lisa Wilson filled in when she couldn't. Holly Micelli rocked out as the Stage Manager and Chris did the lights, sound and video, so my help wasn't needed, to be quite honest. I just chilled at home, took reservations, managed Ovation Tix and attempted to produce the show as much as I could from behind the computer screen and on the phone. Clara, being the tenacious wonder that she is, reattached herself and the pregnancy continued as normal. I'm so thankful for the support of our friends and family during that time. It was pretty scary for me.
I was set to direct The Skriker in the spring but wondered if I would be able to do it. I had always wanted to be the type of pregnant woman who could do everything, but discovered that wasn't going to be the case. I really needed to take it easy and focus my energies on creating the healthiest baby I could. I wanted to keep myself cool as a cucumber and avoid the stresses that often accompany a production. I strengthened myself up mentally and, with the help of Chris and Lisa, I decided to go ahead and direct the show. We held auditions in February and selected an amazing group of ladies and one guy.
.jpg)
The rehearsal process went smoothly, the design staff was exceptional and my dear husband helped me keep my sanity during the whole process. I lost my cool a couple of times with folks not directly involved in the production and I could blame it on hormones being all over the place, but that seems too easy. I realized during my pregnancy that I didn't have much of a filter and I could say that I regret my actions but that would be lying. Would I do it again? Yes. Would I do it again to the extent I did it? Probably not. Do I feel like I should apologize for my actions? Not at this point. Would I like to move forward? Most definitely.
In June, we attended the Jeff Awards for the first time to celebrate Nicolle Van Dyke's nomination for Best Supporting Actress. Her portrayal of Beatrice in A View from the Bridge was so honest, so raw, so supportive and so touching. It was an honor to be with her that evening and I'm still elated that her first role in years garnered her a nomination from the Jeff committee. Melissa Kuhlmann and Tom Gordon also were there to support her, along with Gene, her husband, so we had a grand turnout from the GreyZelda peeps.
And, that, as they say was that in terms of mingling with the theatre community this year .... I did get a chance to see The Mammals'Clay Continent, Point of Contention's Radium Girls, Kat Daniels in a show at the Irish Heritage Center (can't think of the title right now ... I think my brain's still a little smaller from the pregnancy) and, of course, Our Town, which, like the rest of Chicago's audiences, I adored. I said to Chris before I left, "If I don't like this show and if it gives me the same 'meh' feeling I've gotten from so many other shows the last few years, than something's seriously wrong with me and I've lost my love of theatre." Our Town delivered, I was moved to tears and I couldn't stop gushing about it when I returned home. Thank you, David Cromer and The Hypocrites, for being that spark that reminded me why I am attracted to this art form.
Which leads me to the present and our future ...
Internally, we've shuttered the doors and windows for a spell. Lisa Wilson, a company member who was with us from One Flea Spare, moved to Seattle with dear Dave McCaul in August and that's created a pretty big void as she was a huge supporter and collaborator with the company as well as being a creative, driving, inspirational force of an artist and friend. We've got an incredible pool of actors, designers, etc who have helped keep our company strong, but we don't have the driving force to keep this going right now while I'm home rearin' our dear baby girl. Chris and I, in the meantime, are blowing off the dust from our Metamorphosis adaptation and our original play, The Thimbleberry Gallows. We're going to rework and take the editing knife to them. We might send the scripts out after we're finished to see if anyone would like to take a swing at producing them. Chris is also starting work on a play that's been rumbling around in his noggin for several years. There's been some very light talk of joining forces with another theatre company in town. Basically, it comes down to this: Chris and I have been a team and we've been able to to work and produce shows together. Now, we have a little girl on the scene that we want to devote the majority of our time to. In order to get things rolling theatrically again, we need another person who is willing to devote as much time and energy into the company as we have so that Chris and I can swap out responsibilities instead of doing the majority of the behind-the-scenes roles and responsibilities.
I'm not sure what 2009 holds for us at this point ... Chris lost his job in October and is still on the job hunt. I'm not quite ready to go back to work because I love being Clara's mom full time. We're going day to day, at this point, and hope that we have enough money from Chris's unemployment to pay our bills, rent, etc. So, thinking about what we're going to produce next is very far down on our list of priorities. I'm sure we'll figure out the balance and I hope that's sooner than later but, right now, we're just trying to survive and take care of Clara, who is a pure ray of happiness and fills our world with wonder and warmth.
In closing, I'd like to say that we hope that your Winter and Holiday Season proves to be merry and bright. Enjoy your family. Enjoy your friends. Enjoy your respective companies. Try to escape to the theatre when you get the chance. Support your local Storefront scene. Be there for each other and appreciate those that surround you. Give each other support, love and kind words.
It's been an incredible year and thanks for reading.
Sunday, November 30, 2008
Blog Clouds
Nick Keenan was playing around with Wordle and I decided to follow suit.
For your viewing pleasure, I give you ....
Blog Clouds.
GreyZelda:
Terroristic Optimism:
For your viewing pleasure, I give you ....
Blog Clouds.
GreyZelda:
Terroristic Optimism:
Monday, November 17, 2008
Did you know ...
That Mary Shen Barnidge pointed out Heath Hays's tree set in The Thimbleberry Gallows as an Outstanding Achievement of 2005 for the Windy City Times?
Click here to check it out.
I didn't until recently when I googled the play to find some information for a friend.
Coolness.
Trees always dress up a place. You can see their loveliness up above there with Ms. Melissa Kuhlmann modeling in front with Julie Ballard's snazzy lights.
I'd really like to return to the play, edit the bejesus out of it and see what else we can do with it. Maybe remount it. Maybe send it out on the submittal process. Maybe give it a reading and have our respected peers give us a good whatfor to help us fix it up.
One of these days ....
Click here to check it out.
I didn't until recently when I googled the play to find some information for a friend.
Coolness.
Trees always dress up a place. You can see their loveliness up above there with Ms. Melissa Kuhlmann modeling in front with Julie Ballard's snazzy lights.
I'd really like to return to the play, edit the bejesus out of it and see what else we can do with it. Maybe remount it. Maybe send it out on the submittal process. Maybe give it a reading and have our respected peers give us a good whatfor to help us fix it up.
One of these days ....
Monday, September 15, 2008
A Post of Little to No Theatre Content
As many of you know, we're on a baby-rearin' hiatus. The next GreyZelda related post will probably contain a picture of said baby (Clara Virginia Riter's her name) wearing a GreyZelda onesie or t-shirt for she has taken center stage in our lives. Season announcements are going forth into the world, but GreyZelda's taking a break. I can't say what we'll be when we return or if we'll be or if we'll join forces with others or recreate our image to a whole other theatre company.
The future is gaping wide open, but is quite focused on a little girl who is currently sleeping in her bouncer alongside me as I type.
I'm not at all interested in getting into theatre debates with theatre bloggers or writing long winded essays decrying the state of the stage. To be quite honest, I find the whole darn thing pretty lame and lacking in life content and force. Everybody takes everything so personally ... if someone writes something complaining about this and that, all the other bloggers read it to mean that that person must be talking about them specifically. Ah, theatre people ... thy vanity is laughable and ever so predictable.
So, I choose to hang with a wee thing who takes the world day to day and is experiencing firsts everyday ... she doesn't repeat herself, thank the gods.
So ... someday ... maybe we'll do something again. Until that day, keep on creating, avoid stifling others, avoid the negative nellies and the noids and remember to breathe. And smell those flowers.
The future is gaping wide open, but is quite focused on a little girl who is currently sleeping in her bouncer alongside me as I type.
I'm not at all interested in getting into theatre debates with theatre bloggers or writing long winded essays decrying the state of the stage. To be quite honest, I find the whole darn thing pretty lame and lacking in life content and force. Everybody takes everything so personally ... if someone writes something complaining about this and that, all the other bloggers read it to mean that that person must be talking about them specifically. Ah, theatre people ... thy vanity is laughable and ever so predictable.
So, I choose to hang with a wee thing who takes the world day to day and is experiencing firsts everyday ... she doesn't repeat herself, thank the gods.
So ... someday ... maybe we'll do something again. Until that day, keep on creating, avoid stifling others, avoid the negative nellies and the noids and remember to breathe. And smell those flowers.
Friday, August 01, 2008
Chicago Data Base
I know a lot of you have probably already received an email from Dan Granata about completing your Performink and Chicago Theatre Data Base Survey form, but, if you haven't please visit his website for more information.
He, Nick Keenan and many others have done an amazing job collecting information from Chicago's theatres to make a highly comprehensive site that will be incredibly helpful and educational.
So ... get your information into him as soon as possible!
He, Nick Keenan and many others have done an amazing job collecting information from Chicago's theatres to make a highly comprehensive site that will be incredibly helpful and educational.
So ... get your information into him as soon as possible!
Thursday, July 31, 2008
LZ and the McCauliflower Hit the Road For the End of the Line
Well ... the time has come.
Our dear friends, Lisa Wilson and Dave McCaul, are loading up their U-Haul and are going to make the voyage to their new destination of Seattle, WA. We will sorely and severely miss them, but are incredibly excited about their new adventure in a land I've never visited. A land of trees, water, trolls and lots of coffee. And Frasier lives there. And, I hear tell, there are those who are sleepless.
Lisa's been with GreyZelda since the beginning and has been the biggest supporter, company member, collaborator and maven we've had. She's hung up posters, made costumes, acted lots of times, assistant directed, donated furniture, time and lots of effort ... she's been amazing and not having her around to be involved in whatever the company does next will be a sad endeavor. But, on the positive side, we have a lot of people who have started getting involved with the company who are excited to help and grow our little group.
Lisa and Dave also quickly became bosom pals of ours and we've spent many a late evening with them talking about music, dancing, breaking glasses, bobbing for apples, watching movies, debating, arguing, crying, seeing lots of concerts together, being silly about Tori Amos ... we've shared a great deal together and they've been two of the best friends we've had. We've learned a great deal from them and they've introduced us to many things from authors to musicians to movies to restaurants. Many, many things. For they are adventurers of the highest degree. We'll really miss them.
And, now before I become too verklempt, I will bid them adieu and safe travels and will regale you with pictures.
And it'll be super cool to visit them in Seattle. I hear tell you can take a 6 hour ferry ride to Alaska from there.
Our dear friends, Lisa Wilson and Dave McCaul, are loading up their U-Haul and are going to make the voyage to their new destination of Seattle, WA. We will sorely and severely miss them, but are incredibly excited about their new adventure in a land I've never visited. A land of trees, water, trolls and lots of coffee. And Frasier lives there. And, I hear tell, there are those who are sleepless.
Lisa's been with GreyZelda since the beginning and has been the biggest supporter, company member, collaborator and maven we've had. She's hung up posters, made costumes, acted lots of times, assistant directed, donated furniture, time and lots of effort ... she's been amazing and not having her around to be involved in whatever the company does next will be a sad endeavor. But, on the positive side, we have a lot of people who have started getting involved with the company who are excited to help and grow our little group.
Lisa and Dave also quickly became bosom pals of ours and we've spent many a late evening with them talking about music, dancing, breaking glasses, bobbing for apples, watching movies, debating, arguing, crying, seeing lots of concerts together, being silly about Tori Amos ... we've shared a great deal together and they've been two of the best friends we've had. We've learned a great deal from them and they've introduced us to many things from authors to musicians to movies to restaurants. Many, many things. For they are adventurers of the highest degree. We'll really miss them.
And, now before I become too verklempt, I will bid them adieu and safe travels and will regale you with pictures.
And it'll be super cool to visit them in Seattle. I hear tell you can take a 6 hour ferry ride to Alaska from there.
Monday, June 30, 2008
Should We Do the Show Tonight?
The Next Stage brings up the subject of how many in an audience equals a performance ...
I'm often my own box office staff and producer when we put up a show. So, ultimately, we tell our actors that we hold the right to ultimately decide. Now, our actors will often not want to perform if there are less than five people in the audience. If one of those people are a reviewer or noted theatre member of the community, however, they will. But, they just don't want to do the show if it's a regular ol' audience member. We even had one of our casts almost mutiny because I made them perform for three people one evening. One of the people was a person I had acted with several years ago and I hadn't seen him since - he just happened to walk by the theatre and saw me at the box office. The other two were a mother/daughter team from Iowa that were interested in the show because the daughter had studied it in high school and they had planned on seeing it during their very brief stay in Chicago. They couldn't see it any other time because they were headed back to Iowa the next day. I made the executive decision that, yes, we were going to do the show. And the cast was infuriated. Which infuriated me. It wasn't a good night.
We have canceled shows based on low attendance, but I always regret doing that. Another example ... one of our good friends and fellow bloggers came to see A View from the Bridge. He was the only member of the audience on the night he came and we asked if he could come another night. He was very accomodating and said, "Sure, no problem." Unfortunately, he planned on coming our closing night ... which we had to cancel because one of our actors had the whooping cough and we couldn't put the show on (there were thoughts of me jumping in there, script in hand, but we decided against it because, at that time, I was on bedrest due to early problems in the pregnancy and I knew I would push myself over the limits in multiple ways.) So, our friend didn't get to see the show at all and I still feel guilty about that.
There's a "Show Must Go On" quality missing from a few of the actors we've worked with. Now, if an ensemble member has, say, the whooping cough and is hospitalized then, yes, that person should not be acting and we just have to cut the losses. I know that actors get tired - (we get tired, too), but ... I dunno. We've also had actors who are team players and want to perform no matter what. And know that it's our decision if we do the show or not. I like working with those actors.
So, I proclaim, from now on ... The GreyZelda Theatre Group will always perform the show unless there are no people in the audience. Actors, if you're reading, if you're not comfortable with that policy ... please don't audition or accept a role. We're there to perform, the space has been rented, the rights have been paid. Costumes have been put on, warmups done, lights checked, props checked, toilet paper in the bathroom. We're doing the show. And the show's going to be just as energized as a show played to a full house. Because we're all professionals. And that's how it's done.
I'm often my own box office staff and producer when we put up a show. So, ultimately, we tell our actors that we hold the right to ultimately decide. Now, our actors will often not want to perform if there are less than five people in the audience. If one of those people are a reviewer or noted theatre member of the community, however, they will. But, they just don't want to do the show if it's a regular ol' audience member. We even had one of our casts almost mutiny because I made them perform for three people one evening. One of the people was a person I had acted with several years ago and I hadn't seen him since - he just happened to walk by the theatre and saw me at the box office. The other two were a mother/daughter team from Iowa that were interested in the show because the daughter had studied it in high school and they had planned on seeing it during their very brief stay in Chicago. They couldn't see it any other time because they were headed back to Iowa the next day. I made the executive decision that, yes, we were going to do the show. And the cast was infuriated. Which infuriated me. It wasn't a good night.
We have canceled shows based on low attendance, but I always regret doing that. Another example ... one of our good friends and fellow bloggers came to see A View from the Bridge. He was the only member of the audience on the night he came and we asked if he could come another night. He was very accomodating and said, "Sure, no problem." Unfortunately, he planned on coming our closing night ... which we had to cancel because one of our actors had the whooping cough and we couldn't put the show on (there were thoughts of me jumping in there, script in hand, but we decided against it because, at that time, I was on bedrest due to early problems in the pregnancy and I knew I would push myself over the limits in multiple ways.) So, our friend didn't get to see the show at all and I still feel guilty about that.
There's a "Show Must Go On" quality missing from a few of the actors we've worked with. Now, if an ensemble member has, say, the whooping cough and is hospitalized then, yes, that person should not be acting and we just have to cut the losses. I know that actors get tired - (we get tired, too), but ... I dunno. We've also had actors who are team players and want to perform no matter what. And know that it's our decision if we do the show or not. I like working with those actors.
So, I proclaim, from now on ... The GreyZelda Theatre Group will always perform the show unless there are no people in the audience. Actors, if you're reading, if you're not comfortable with that policy ... please don't audition or accept a role. We're there to perform, the space has been rented, the rights have been paid. Costumes have been put on, warmups done, lights checked, props checked, toilet paper in the bathroom. We're doing the show. And the show's going to be just as energized as a show played to a full house. Because we're all professionals. And that's how it's done.
Wednesday, June 18, 2008
GreyZelda's Coartistic Directors and Founders
Thank you, Johnny Knight, for such a great picture!!! This picture was snapped of Chris and me before the Jeff Awards Ceremony began and it's my new favorite picture of us. I'm with David Moore (yeah, you look great in that picture, D.A.M!!!!) in agreeing that I often don't get the best pictures taken (my eyes are kooky or closed; I'm making a goofy face, etc). Chris, in my unbiased opinion, always takes a good pic and looks like a dashing gentleman. We were there to support the incomparable Nicolle Van Dyke who was nominated for Best Supporting Actress in a play for A View from the Bridge and had a very nice evening eating strawberries and seeing what the Jeffs are all about.
Tuesday, June 10, 2008
Outside of Theatre ...
... what's your idea of a good time? What have you done for pleasure, education, etc that have happened to inspire you to create theatre because of the experience?
For example ... Chris and I love going to the Upper Peninsula of Michigan. Copper Harbor, especially. Lake Superior crashing on volcanic rock. Bald eagles patrolling the rocky shores on their migratory paths. Silent bike rides under oranges, reds and yellows. Full glimpses of the Milky Way and flirting from the Northern Lights. Visits to Fort Wilkins and tales of girls who come from the south to visit their sisters and disappear after picking thimbleberries.
We decided to start working on The Thimbleberry Gallows after such a visit in the Fall of 2004.
What gets your juices churning? What's your secret sauce?
Cross posted at Terroristic Optimism and GreyZelda's Myspace Blog.
For example ... Chris and I love going to the Upper Peninsula of Michigan. Copper Harbor, especially. Lake Superior crashing on volcanic rock. Bald eagles patrolling the rocky shores on their migratory paths. Silent bike rides under oranges, reds and yellows. Full glimpses of the Milky Way and flirting from the Northern Lights. Visits to Fort Wilkins and tales of girls who come from the south to visit their sisters and disappear after picking thimbleberries.
We decided to start working on The Thimbleberry Gallows after such a visit in the Fall of 2004.
What gets your juices churning? What's your secret sauce?
Cross posted at Terroristic Optimism and GreyZelda's Myspace Blog.
Tuesday, June 03, 2008
1945 Code of Ethics for Theatre
(H/T to Backstage at BackstageJobs.com)
From Geoff Short's blog:
"A 1945 Code of Ethics for Theatre Workers Surfaces"
Equity member Kathleen Freeman died of lung cancer in August, 2001 while she was appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty. Equity Councillor Jane A. Johnston, a longtime friend, was executrix for Ms. Freeman’s estate. Among Ms. Freeman’s papers she discovered a yellowed document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team and it was her childhood experience of touring with her parents from which this Code of Ethics sprung, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don’ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. I wish I had been told some of ‘the rules’ when I was a young actress instead of having to pick them up as I went along.”
The theatre was the Circle Players, and among its backers was Charlie Chaplin. That group subsequently evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), nevertheless, Ms. Johnston confirms that all the participants were professionals.
Foreword to the Code
“A part of the great tradition of the theatre is the code of ethics which belong to every worker in the theatre. This code is not a superstition, nor a dogma, nor a ritual which is enforced by tribunals; it is an attitude toward your vocation, your fellow workers, your audiences and yourself. It is a kind of self-discipline which does not rob you of your invaluable individualism.
“Those of you who have been in show business know the full connotation of these precepts. Those of you who are new to show business will soon learn. The Circle Players, since its founding in 1945, has always striven to stand for the finest in theatre, and it will continue to do so. Therefore, it is with the sincere purpose of continued dedication to the great traditions of the theatre that these items are here presented.”
The “rules” follow:
1. I shall never miss a performance.
2. I shall play every performance with energy, enthusiasm and to the best of my ability regardless of size of audience, personal illness, bad weather, accident, or even death in my family.
3. I shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and I shall always be on time.
4. I shall never make a curtain late by my failure to be ready on time.
5. I shall never miss an entrance.
6. I shall never leave the theatre building or the stage area until I have completed my performance, unless I am specifically excused by the stage manager; curtain calls are a part of the show.
7. I shall not let the comments of friends, relatives or critics change any phase of my work without proper consultation; I shall not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of my director or producer or their agents, and I shall inform all people concerned.
8. I shall forego the gratification of my ego for the demands of the play.
9. I shall remember my business is to create illusion; therefore, I shall not break the illusion by appearing in costume and makeup off-stage or outside the theatre.
10. I shall accept my director’s and producer’s advice and counsel in the spirit in which it is given, for they can see the production as a whole and my work from the front.
11. I shall never “put on an act” while viewing other artists’ work as a member of an audience, nor shall I make caustic criticism from jealousy or for the sake of being smart.
12. I shall respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” I shall not condemn a play while it is in rehearsal.
13. I shall not spread rumor or gossip which is malicious and tends to reflect discredit on my show, the theatre, or any personnel connected with them—either to people inside or outside the group.
14. Since I respect the theatre in which I work, I shall do my best to keep it looking clean, orderly and attractive regardless of whether I am specifically assigned to such work or not.
15. I shall handle stage properties and costumes with care for I know they are part of the tools of my trade and are a vital part of the physical production.
16. I shall follow rules of courtesy, deportment and common decency applicable in all walks of life (and especially in a business in close contact with the public) when I am in the theatre, and I shall observe the rules and regulations of any specific theatre where I work.
17. I shall never lose my enthusiasm for theatre because of disappointments.
In addition, the document continued:
“I understand that membership in the Circle Theatre entitles me to the privilege of working, when I am so assigned, in any of the phases of a production, including: props, lights, sound, construction, house management, box office, publicity and stage managing—as well as acting. I realize it is possible I may not be cast in a part for many months, but I will not allow this to dampen my enthusiasm or desire to work, since I realize without my willingness to do all other phases of theatre work, there would be no theatre for me to act in.”
All members of the Circle Theatre were required to sign this document. And they must have—because the theatre, and the group into which it evolved, was successful for many years."
From Geoff Short's blog:
"A 1945 Code of Ethics for Theatre Workers Surfaces"
Equity member Kathleen Freeman died of lung cancer in August, 2001 while she was appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty. Equity Councillor Jane A. Johnston, a longtime friend, was executrix for Ms. Freeman’s estate. Among Ms. Freeman’s papers she discovered a yellowed document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team and it was her childhood experience of touring with her parents from which this Code of Ethics sprung, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don’ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. I wish I had been told some of ‘the rules’ when I was a young actress instead of having to pick them up as I went along.”
The theatre was the Circle Players, and among its backers was Charlie Chaplin. That group subsequently evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), nevertheless, Ms. Johnston confirms that all the participants were professionals.
Foreword to the Code
“A part of the great tradition of the theatre is the code of ethics which belong to every worker in the theatre. This code is not a superstition, nor a dogma, nor a ritual which is enforced by tribunals; it is an attitude toward your vocation, your fellow workers, your audiences and yourself. It is a kind of self-discipline which does not rob you of your invaluable individualism.
“Those of you who have been in show business know the full connotation of these precepts. Those of you who are new to show business will soon learn. The Circle Players, since its founding in 1945, has always striven to stand for the finest in theatre, and it will continue to do so. Therefore, it is with the sincere purpose of continued dedication to the great traditions of the theatre that these items are here presented.”
The “rules” follow:
1. I shall never miss a performance.
2. I shall play every performance with energy, enthusiasm and to the best of my ability regardless of size of audience, personal illness, bad weather, accident, or even death in my family.
3. I shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and I shall always be on time.
4. I shall never make a curtain late by my failure to be ready on time.
5. I shall never miss an entrance.
6. I shall never leave the theatre building or the stage area until I have completed my performance, unless I am specifically excused by the stage manager; curtain calls are a part of the show.
7. I shall not let the comments of friends, relatives or critics change any phase of my work without proper consultation; I shall not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of my director or producer or their agents, and I shall inform all people concerned.
8. I shall forego the gratification of my ego for the demands of the play.
9. I shall remember my business is to create illusion; therefore, I shall not break the illusion by appearing in costume and makeup off-stage or outside the theatre.
10. I shall accept my director’s and producer’s advice and counsel in the spirit in which it is given, for they can see the production as a whole and my work from the front.
11. I shall never “put on an act” while viewing other artists’ work as a member of an audience, nor shall I make caustic criticism from jealousy or for the sake of being smart.
12. I shall respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” I shall not condemn a play while it is in rehearsal.
13. I shall not spread rumor or gossip which is malicious and tends to reflect discredit on my show, the theatre, or any personnel connected with them—either to people inside or outside the group.
14. Since I respect the theatre in which I work, I shall do my best to keep it looking clean, orderly and attractive regardless of whether I am specifically assigned to such work or not.
15. I shall handle stage properties and costumes with care for I know they are part of the tools of my trade and are a vital part of the physical production.
16. I shall follow rules of courtesy, deportment and common decency applicable in all walks of life (and especially in a business in close contact with the public) when I am in the theatre, and I shall observe the rules and regulations of any specific theatre where I work.
17. I shall never lose my enthusiasm for theatre because of disappointments.
In addition, the document continued:
“I understand that membership in the Circle Theatre entitles me to the privilege of working, when I am so assigned, in any of the phases of a production, including: props, lights, sound, construction, house management, box office, publicity and stage managing—as well as acting. I realize it is possible I may not be cast in a part for many months, but I will not allow this to dampen my enthusiasm or desire to work, since I realize without my willingness to do all other phases of theatre work, there would be no theatre for me to act in.”
All members of the Circle Theatre were required to sign this document. And they must have—because the theatre, and the group into which it evolved, was successful for many years."
Thursday, May 29, 2008
Pirate Ships Under Cover
I'm a Tori Amos fan ... or nutzoid. Whatevs. You might know this since I quote and talk about her more times than not.
So ... you may or may not know that Tori toured with Alanis Morrissette back in 1999. I saw her on that tour in Pittsburgh. Anyways ... Tori was asked by interviewers time and time again about what it was like working with Alanis, yadda yadda yadda and a couple of quotes popped out to me and sum up how I feel about our theatre company, art, how we go about creating it and how we collaborate with other theatre companies ...
"We get along very well . . . It's like two pirate ships that have gone into the same cover together."
"It's been about holding space for each other ..."
"Charlie Rose: I mean.. well, was their conflict, was there tension? or was it just a
lovefest?
Tori Amos: no tension because.. I think honestly, she approached me and she did it
in a way that was like, "hey, lets be creative and put two shows together,
two separate shows and um.. I had to bring my own production. I didn't want
to do anything where I couldn't bring my own production because that's not
how i work. I have a pirate ship, I have a captain..
C: yes
T: I'm the ship(giggle)
C: yes
T: i have loads of chefs
C: yes
T: and all sorts of people floating around. thieves, fantastic. few
harlots.
C: yes
T: all on my ship
C: yes
T: and we all had to come and be respected that, you know, no compromise on
any level. and, she has her captain, she is her ship, and of course thats
how it had to be approached. and, because of that mutual respect it worked
out really well."
We're the captains of our pirate ship. You do what you have to do to keep your art and motivations sacred. And you have to remember to do things your own way. Sometimes you can converge with another but it's a very tricky negotiation. You have to maintain your own identity.
How do you imagine your theatre company?
RZ
For more Tori quotes on Alanis and vice versa, please visit http://www.thedent.com/torialanis.html
So ... you may or may not know that Tori toured with Alanis Morrissette back in 1999. I saw her on that tour in Pittsburgh. Anyways ... Tori was asked by interviewers time and time again about what it was like working with Alanis, yadda yadda yadda and a couple of quotes popped out to me and sum up how I feel about our theatre company, art, how we go about creating it and how we collaborate with other theatre companies ...
"We get along very well . . . It's like two pirate ships that have gone into the same cover together."
"It's been about holding space for each other ..."
"Charlie Rose: I mean.. well, was their conflict, was there tension? or was it just a
lovefest?
Tori Amos: no tension because.. I think honestly, she approached me and she did it
in a way that was like, "hey, lets be creative and put two shows together,
two separate shows and um.. I had to bring my own production. I didn't want
to do anything where I couldn't bring my own production because that's not
how i work. I have a pirate ship, I have a captain..
C: yes
T: I'm the ship(giggle)
C: yes
T: i have loads of chefs
C: yes
T: and all sorts of people floating around. thieves, fantastic. few
harlots.
C: yes
T: all on my ship
C: yes
T: and we all had to come and be respected that, you know, no compromise on
any level. and, she has her captain, she is her ship, and of course thats
how it had to be approached. and, because of that mutual respect it worked
out really well."
We're the captains of our pirate ship. You do what you have to do to keep your art and motivations sacred. And you have to remember to do things your own way. Sometimes you can converge with another but it's a very tricky negotiation. You have to maintain your own identity.
How do you imagine your theatre company?
RZ
For more Tori quotes on Alanis and vice versa, please visit http://www.thedent.com/torialanis.html
Tuesday, May 20, 2008
What's Next on the GreyZelda Front?
Heigh Ho, Kermit the Frog here ...
This blog is going through a personality crisis right now, but its moderator is pregnant so that probably makes sense. There's a blog here one day, then not here, then another one, then that one goes down ... sorry about that.
The GreyZelda Theatre Group will be taking an extended break for a spell as its cofounders and coartistic directors are preparing for the birth of a little girl who will be making her appearance at the end of August. We'll be having a celebratory BBQ on Saturday for the casts and crew of A View from the Bridge and The Skriker on Saturday, which we're very much looking forward to as that might be our last shindig for a while. Which we're also looking forward to as breaks have proven very beneficial for our company and our creative process.
We might give a go at writing another play. I might do a little sumthin', sumthin' on the acting end w. Ms. Van Dyke. She and I talked about a project during View rehearsals and I think it would be really fun to start working on it without the pressure of definitely putting a date on it. And, who knows ... we might post a season announcement sooner than later, once we get this parenting thing figgered out. (Does anybody ever completely get it figgered out? I'm looking forward to learning and teaching and watching our little one grow. And laugh with us. And play. And do what families do ... yay!)
So ... stay tuned for announcements. I'm also going to try to write daily blogs here and they'll also be posted on my myspace page. If you're on myspace and would like to befriend me, please do.
Many hugs and kisses.
RZ
This blog is going through a personality crisis right now, but its moderator is pregnant so that probably makes sense. There's a blog here one day, then not here, then another one, then that one goes down ... sorry about that.
The GreyZelda Theatre Group will be taking an extended break for a spell as its cofounders and coartistic directors are preparing for the birth of a little girl who will be making her appearance at the end of August. We'll be having a celebratory BBQ on Saturday for the casts and crew of A View from the Bridge and The Skriker on Saturday, which we're very much looking forward to as that might be our last shindig for a while. Which we're also looking forward to as breaks have proven very beneficial for our company and our creative process.
We might give a go at writing another play. I might do a little sumthin', sumthin' on the acting end w. Ms. Van Dyke. She and I talked about a project during View rehearsals and I think it would be really fun to start working on it without the pressure of definitely putting a date on it. And, who knows ... we might post a season announcement sooner than later, once we get this parenting thing figgered out. (Does anybody ever completely get it figgered out? I'm looking forward to learning and teaching and watching our little one grow. And laugh with us. And play. And do what families do ... yay!)
So ... stay tuned for announcements. I'm also going to try to write daily blogs here and they'll also be posted on my myspace page. If you're on myspace and would like to befriend me, please do.
Many hugs and kisses.
RZ
Thursday, May 15, 2008
Monday, May 12, 2008
Savechicagoculture.org
Looks like some trouble, my friends ....
Let's put some of our talking to action now.
http://savechicagoculture.org/
(Update: According to the Chicago Music Commission:
Let's put some of our talking to action now.
http://savechicagoculture.org/
(Update: According to the Chicago Music Commission:
Chairman Schulter (47th Ward) has decided not to report the event promoter ordinance out his City Council Licensing and Consumer Protection Committee. In other words, it will not be on the City Council agenda tomorrow and there will not be a vote on the bill as previously scheduled. It has been pulled until further research is done.)
Lee Elia and Me
A couple of folks over at Slowlearner have been talking about how artists should open themselves up during the rehearsal process and have been comparing our processes and our sensitivities to sports team's processes and sensitivities. Scott Walters comments:
"When a football team loses, they players get hammered by just about everybody. Writers opine, fans fill the sports sites with assessment, talk radio shows are devoted to sports opinions. Result? More attention for the sport. Now, how comfortable is that for the quarterback being hammered, the pitcher being sliced and diced? But they handle it. But artists? Man, we would shrivel up an DIE under that scrutiny. Or...maybe we wouldn't. But we sure act like we would. All that delicate rehearsal time, and if somebody posts negative comments about a show once it's open WEE-OOO, the yogurt hits the fan. Are we really, truly that delicate? I'm just askin'."
And, to that, I answer with a resounding
That's what I'm talkin' about.
RZ
"When a football team loses, they players get hammered by just about everybody. Writers opine, fans fill the sports sites with assessment, talk radio shows are devoted to sports opinions. Result? More attention for the sport. Now, how comfortable is that for the quarterback being hammered, the pitcher being sliced and diced? But they handle it. But artists? Man, we would shrivel up an DIE under that scrutiny. Or...maybe we wouldn't. But we sure act like we would. All that delicate rehearsal time, and if somebody posts negative comments about a show once it's open WEE-OOO, the yogurt hits the fan. Are we really, truly that delicate? I'm just askin'."
And, to that, I answer with a resounding
That's what I'm talkin' about.
RZ
Sunday, May 11, 2008
The Skriker has Left the Building
(Top Row: Jana Liles Passerby, Dani Bryant, Brian Bell, Morgan Christiansen, Kate Froechlich, Kathryn Daniels, Rebecca Zellar, Kelly Yacono, Taylor Mauch Center Row: Jill Thiel, Karen Gollrad, Lisa Wilson, Amanda Eaton, Jamie DesRocher, Annie Passinisi Bottom Row: Rebecca Mauldin)Thank you to our cast, designers and crew!!!! This has been one of our favorite productions to date and it's all because we had such an incredible group of people to work with. Thank you, Thank you, Thank you.
Wednesday, May 07, 2008
Closing Weekend of The Skriker
Hi!
Our run of Caryl Churchill's The Skriker is almost at a close - our final performance will be this Saturday, May 10th.
Thursday's performance is close to being sold out - we have six tickets left, so I encourage everyone to take advantage of Friday and Saturday.
Thank you so much for coming out and supporting GreyZelda! It's been a wonderful run and I look forward to writing some closing thoughts next week.
Rebecca
Our run of Caryl Churchill's The Skriker is almost at a close - our final performance will be this Saturday, May 10th.
Thursday's performance is close to being sold out - we have six tickets left, so I encourage everyone to take advantage of Friday and Saturday.
Thank you so much for coming out and supporting GreyZelda! It's been a wonderful run and I look forward to writing some closing thoughts next week.
Rebecca
Friday, May 02, 2008
Congratulations to Nicolle Van Dyke!!!!!!!!
She's been nominated for Best Actress in a Supporting Role/Play for her role as Beatrice in A View from the Bridge!!!!!!!! We're so excited for her, I can't begin to tell you. I'll write more about this tomorrow because I need to go to bed, but I wanted to make a quick announcement. And I just called Nicolle even thought it's super late. I believe she's jumping on her bed right now.
(Edited on 5/2/08 at 10:00am) I've known Nicolle since college and she was in The Boys Next Door with me, which was one of my all-time favorite theatrical experiences. Part of the reason the show was so wonderful was because I got to act closely with Nicolle. She's one of the most giving, committed, funny, honest and professional actors I know and I speak for anybody who has ever acted with her in saying she totally and completely deserves this nod. And she's an incredibly nice, beautiful person. So ... theatre companies ... get to know this girl, will yins? She's the bee's knees.
And! Rebekah Ward-Hays was nominated in the same category for her role in Backstage Theatre's Waiting for Lefty!!!!! Ahhhh! I saw Rebekah perform in this and was really proud of her and the show in general. Congratulations, Rebekah and Backstage!!!!
It's all too exciting.
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