Thomas Thorspecken Sketches the Audience

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This staged performance, where I sketched an audience at the Orlando Shakespeare Theater, would never have happened if friends I had met over the last year and a half of sketching had not stepped in to help. Aradhana Tiwari invited me to take over the theater for one night and Brian Feldman had the vision for this show close to a year ago. The staging consisted of me sitting in a lone spotlight facing the audience and doing what I do every day – sketch. One video camera shot the sketch I was working on and projected the image on the theater wall behind me, while another camera, operated by Brian, shot footage of the audience just as in a baseball or football game. This would be the first time my work process was ever projected bigger than life for an audience to scrutinize. At leastthree video cameras were recording the proceedings the whole time. This has to be the most documented event I have ever been a part of. The program gave the audience plenty to read and a blank page to sketch if they so liked.

73 of my sketches were hung around the theater clothesline style using fishing line, electrical tape and alligator clips. Ron and Maisy Marrs arrived early and worked tirelessly for over an hour and a half before curtain call. Tommy Wingo handled all the technical aspects of the two video cameras and all the wiring. Evan Miga lent us his digital projector and operated the video camera pointed at my sketch during the whole performance.

At first I envisioned music from “The Illusionist” soundtrack playing the whole time I sketched, but Aradhana and Brian both felt it had too dark and brooding a mood. We agreed to play some Bach performed by Yo-Yo Ma when people entered the theater and looked around at the art. The music was silenced and Brian Feldman walked out into the spotlight to offer an introduction. He mentioned how he and I met over a year ago at the Kerouac House for a performance of his called “txt.” Since that night I have documented over 25 of his performances. When the audience applauded, I walked on stage and took my seat. I couldn’t see a thing with the spotlight in my face, so I grabbed a baseball cap out of my backpack. I was a bit nervous to start and dropped a pen. I had difficulty seeing since the house lights were at half. I called out to the lighting booth, asking if she could raise the lights a bit. When I could see, the sketch started to progress. At first the room was silent, but soon people forgot about the cameras and artist recording the proceedings and the mood lightened. Ashley Gonzalez, Tommy Wingo’s fiance, walked right up on the stage and stood looking over my left shoulder. She whispered the one question I cannot stand into my ear, “Are you an artist?” I laughed and asked, “Did Terry put you up top this?” Clearly she had.

About one hour into the performance, just as I was about to finish up the pen line work, a large group of audience members decided to get up and move to the opposite side of the space so they could be in the sketch a second time. I shouted out “Anarchists!” I placed them the best I could in the new location. Then the watercolors came out and I started to work faster.

People talked and mingled. At times people joked with me and the artist and model exchange became playful. An artist named James Barone wore a kilt and sat in the front row with his wife who held an umbrella. He drew a robotic version of me sketching. Maisy drew all over her questionnaire. What was amazing about this audience as a whole was how much talent was gathered in one room. There were visual artists, authors, poets, dancers, comedians, directors and photographers all mingling in a shared creative experience. It turned out to be a fun way to meet new people while sharing my art. Life as theater, theater as life.

Red Chair Affair -Stage Right

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How amazing to be sitting stage right, next to American flag in front of several thousand people waiting for the red curtain to rise. I had given Terry a ticket but she went to the Tears for Fears concert in front of City Hall instead. Several friends kept texting me from the audience and I responded back. The two sign language interpreters came out and sat next to me. I introduced myself to them. Finally a video was projected on the movie screen high above the stage. From where I was seated the image was a thin sliver since the screen was right above me.
The announcer introduced the Bach Festival Choir who sang the “Star-Spangled Banner.” I stood along with the interpreters and the entire audience faced the flag which was right beside me. The choir was amazing the song resonated in a way I have never felt it before. The signer in front of me was waving her hand like a flag and her hands sparked upwards and sprinkled down just like fireworks. Viewing the signing of this song was a new experience for me.
The next act is when I started to sketch. Jugglers from “La Nouba” by Cirque du Soleil came out and the balls were flying. I quickly caught the clownish character known as The Green Bird. According to the “La Nouba” website, “She has escaped her cage and desperately wants to fly. She can’t fly away and join the circus. She is trapped in the urban world like a marionette with tangled strings.” I was mesmerized by her quick angular movements.
As the next acts came on the stage I continued to work on this sketch. I loved a performance where Tod Caviness read poetry while Emotions Dance performed behind him. I recognized one of the dancers from having sketched several Emotions Dance rehearsals before. Sitting so close to them on the main stage was thrilling. Several times, a dancer would charge right at me diagonally across the stage and I had to move my feet to avoid a collision. As they ran off stage, they were panting audibly and I could see the sweat on their brows. These intimate details aren’t always seen from the audience.
The Orlando Philharmonic Orchestra’s Sovereign Brass performed a medley of tunes from “Chicago.” Their lively performance had the audience laughing and clapping along. The trumpeter used a cup over his bell to create the raucous sounds of a jazzy tune. The audience loved it. When the last brass note silenced, the audience burst up in a standing ovation.

Red Chair Affair – Back Stage

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I got to the Bob Car Performing Arts Centre at 5:30 and entered the performers’ door. Inside, a small room was packed full of actors and there was an amazing spread of food. I was sorry I had eaten at home. I wandered through the maze of backstage hallways past all the dressing rooms, in one a guitarist was lightly strumming his guitar. I then found myself on the main stage. The curtains were down and there were row after row of tables set up with red chairs on them. I knew that my goal with this first sketch was to catch Brian Feldman, who was going to be dressed all in red and seated in one of the tiny IKEA red chairs in a performance piece called “I Am a Red Chair.”
I found the empty chair Brian was to sit in by reading all of the silent auction sheets until I found the one with his name on it. Unfortunately, his chair was sort of isolated and off on its own. I had hoped to sketch Brian in the foreground with a line of red chairs marching off into the distance. After walking around his chair and viewing from all angles, I finally decided to sit with my back against the giant main stage curtain and use the chairs on a table next to me as a foreground element in the sketch. The emotional impact of the sketch is much different than originally envisioned, but I like that he seems distant and small, isolated as the party swirls around him. VIPs had paid $225 for the privilege of viewing and bidding on the red chairs as well as sampling food from some of Orlando’s finer restaurants. A gorgeous woman in a tight red dress stood at the table in front of Brian for the longest time. I imagined she must have been arm candy for a rich young bachelor.
Margot Knight walked over to me and asked if I found it difficult to sketch in my suit. I actually did have a problem, since I placed a pen in my fake breast pocket only to find it disappeared inside the suit’s lining. I had to force it out by cutting a hole in the inside lining of my jacket. I also had placed an open pen in my shirt breast pocket and it had bled out into the fabric. Luckily my jacket covered this black wound all night. Director John DiDonna approached me when I was done with my sketch and said he had a place for me to sit on stage right. The tables full of chairs were quickly wheeled off the stage and I kept stepping out of the way of stagehands carrying chairs and tables. John walked past with a couple of chairs saying, “This is my life.”
Brian, however, was still seated. His auction item was twofold – to be a Red Chair, as pictured in this sketch, for two hours at the location of the highest bidder’s choosing, and to work with them, or whoever they named of their behalf in the marketing and creation of their very own performance piece. He said one artist kept coming up to him to see the latest bid. The artist was a bit upset that people were bidding on Brian and not bidding on his art. When the auction ended, Brian had been sold for $80.
John DiDonna pulled me aside and told me I would be in front of the main stage curtain, sitting beside the American flag. I walked on stage and stared out at the several thousand people as they were busy taking their seats. I desperately wanted to face the audience and start sketching, but I decided I should stay on task and get a sketch of the performers. I folded my hands and waited…

Thomas Thorspecken Sketches the Audience

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Red Chair Affair – Rehearsal

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On the evening before the Red Chair Affair, I went in to the Bob Carr to watch and sketch the rehearsal. John DiDonna, the director of this production, welcomed me warmly and showed me around backstage. The very first person he introduced me to was Boomer Bardo who is in charge of all the sound for the show. Finding a spot backstage to set up was a challenge. I sat down and discovered I was blocking a doorway. Then I scooted over to find myself next to boxes and boxes of programs. The rehearsal was absolute pandemonium at the start. Homer would call out sound cues in his headset and then walk on stage probably to signal to the folks up in the booth at the back of the theater.
The Red Chair Project is a community service designed to increase participation in Central Florida’s arts and culture. As a collaborative campaign involving more than 300 arts and cultural organizations, it promotes and grows the arts in the region through RedChairProject.com , a website with arts and cultural events, discounted tickets, classes/workshops, and getaways. The 6th annual Red Chair Affair would kick off the 2010-2011 Central Florida arts and cultural season.
As I sketched Boomer, a large group of Orlando Repertory Theater Power Chords youth singers stood in line in front of me. They each had stunningly bright colored outfits on. They waited for their coordinator to shout out their number and then they slipped the waistband mini-microphone into a hanging shoe holder. Several of the exuberant youths bumped into me and apologized. Their performance had been high energy and spectacular. They had performed a hip upbeat version of “Lean On Me” that was a joy to listen to. Boomer asked one of the soloists from the group to stand next to him at the soundboard and he adjusted the dials as she sang.
I had one other concert I wanted to sketch this night so once I finished sketching Boomer, I packed up and headed out the stage door hoping to get to “A Time Warp” up at the Unity Church. I was running late. As I was leaving, Tod Caviness said to me, “I don’t know how you keep your hands from cramping up with all the sketching you are doing.”

Time Warp

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I was sketching a rehearsal at Bob Carr Performing Arts Center and I wanted to sketch a concert at Unity Church as well. I wanted to sketch both events but I knew I would be late to Unity since my sketches take at least an hour and a half to do. Sultana Ali was to be singing at the Unity concert. I fired off a text when I finished my Red Chair Affair rehearsal sketch. She texted back that she would be singing around half way into the concert. Although the concert had already started I decided to make a dash up to the church to try and catch her performance. I texted her that she needed to slow down time a bit. When I walked into the church three women were on stage singing “The Times they Are a Changing.” I spotted Sultana and her friend near the front on the right hand side. Sultana waved me over and I sat down. She showed me the program and indicated silently that there was one more act before she went on stage. She gave me a thumbs up and I smiled.

I immediately got my sketchbook out and got to work. I had the whole composition blocked in when Sultana got on stage and then I placed her at the microphone in my sketch. She sang “Summertime“, a lazy sensuous southern tune. When she finished, the place erupted and there was a standing ovation. When she walked off the stage, the moderator, dressed in his 50’s beat costume said, “Now THAT is what I am talking about!” Sultana laughed as she sat down.

The final act caught me by surprise. Miguel and Judy Ander sang “Time to Say Goodbye.” I had met Miguel the last time I had visited the church and he left an impression. He is at least 80 years old and his face is beautifully delineated with wrinkles and the weathering of time. What immediately struck me when I shook his hand was his enthusiasm and joy. As I listened to this beautiful song I flushed and my eyes began to sting. I had to stop sketching and just listen. With this elder couple singing so beautifully, I started to think about the idea of growing old together.

This week I had just started sketching portraits of residents of a local retirement community. I had sketched Captain Pete who will be turning 101 this year. Author Mary Hill had interviewed him the entire time I sketched. His story was profound and moving. He spoke of life and death issues faced in war time, the importance of choosing friends and loved ones wisely, and he explained the spark that keeps him motivated even today. I learned so much about myself from having spent that time with him. The elder couple singing on stage seemed so in love. This is what it must be like to grow old together with faith and love. All these thoughts rushed through my head as I listened. It was useless to try and stop the flow of tears. I put the sketchbook aside. I usually find opera hard to swallow but this song on this day overwhelmed me. I stood when it was over and clapped until my hands hurt.

Emily Carr

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Emily Carr read from her book, “Directions for Flying: A Young Wife’s Almanac” at Cavanagh’s Fine Wines (1215 Edgewater Drive). I rather liked the intimate warmth of Cavanagh’s. There were a few tables nestled between the free standing wine racks. I ordered a house white wine and blocked in the background before Emily started to read. The proprietor bought a bowl of popcorn and placed it on my table. Most of the people who came for the reading were still crowded around the bar located in the far corner of the establishment. Darlyn Finch, an amazing poet in her own right, said hello and joined me at my table.
When Emily stood up on a small step stool to reach the microphone, she seemed small and delicate. Her right arm is decorated with a poem she wrote over time line by line, each line being tattooed in a new color. The upper part of the tattoo has a tree branch and a lone sparrow. This collection of poems she explained tells an ongoing story which changed with the seasons. The book of poems is broken up into months from April to March with three poems per month. One poem involved thoughts behind sitting in an abortion office and realizing that she must follow through. The myriad of thoughts and rationalizations hit a deep human chord. Many of the poems were dark and brooding yet a sparrow seems to light up each unexpectedly. “Directions for Flying” won the 2009 Furniture Press Poetry Award.
Emily is the current resident author at the Kerouac House. At the Kerouac House I got to see “The Nest” which is a spot in the corner of the living room where Emily placed a mattress on the floor . She surrounded this spot with knick knacks she has gathered in her travels, a heart shaped snow globe, an Elvis post card and tiny glass figurines. The nest made for a cozy little artistic fortress.

Wedding of Miriam and Chris

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Chris and Miriam were married in Greensboro, North Carolina by Rabbi Eliezer Havivi. Miriam Dolan is a cousin of my wife Terry. We took a long car drive up to attend the wedding. The wedding day is considered the happiest day of one’s life. It is a personal Yom Kippur for the groom and for the bride. On this day all their past mistakes are forgiven as they merge into a new, complete soul. The veil conveys modesty for the bride and stresses that no matter how physically attractive she may be, it is the soul and character that are most important. The couple stood under a chuppah or marriage canopy which is a symbol of the home to be built and shared by the couple. It is open on all sides to convey that the couple should welcome people in unconditional hospitality. Miraim circled Chris seven times, which symbolized that the world was built in seven days. Two cups of wine were used in the ceremony. The first cup was sipped when the rabbi recited the betrothal blessings. Wine is a symbol of joy in Jewish tradition. The wedding is a sanctification of a man and woman. After the ceremony, the groom placed a glass on the floor and shattered it with his foot by stomping on it. This tradition stresses that even at the height of one’s personal joy, we must remember the destruction of the temple in Jerusalem. After the ceremony the couple was escorted to a private room and left alone for a few minutes. This time of seclusion signified their new status of living together as husband and wife.

All of these traditions are somewhat new to me since I was raised christian, so I sketched with fascination. I was still adding watercolor washes when the ceremony was over and people began to file out to go to the reception. Terry lost patience when the synagogue was empty since she wanted to get to the reception to see the newly married couple arrive. I got my sketch done.

What Moves You?

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City Arts Factory for Third Thursday in August had an exhibition called “What Moves You” which featured installation art. In a far back room, Jessica Earley had an installation with two projectors which were decorated to look like space shuttles. On one of the two screens she could be seen crying animated tears. Brigen Gresh had an installation in which railroad spikes hanging from the ceiling caused a traffic pattern which directed viewers to a corner of the room where a whimsical sculpture with multiple wheeled modes of transportation looked like they were balancing on a high beam. In the hallway a toilet bowl was lined with firecrackers.
Outside Pine Street was shut down and the Mobile Arts Show U-Haul was parked with the back of the truck facing the City Arts Factory. White curtains were draped from the rear of the truck. Near the ramp leading up to the truck, three monsters had set up a kissing booth. Terry was feeling quite bohemian this night, but what happens at the Mobile Art Show stays at the Mobile Art Show. Inside the truck was the work of Karen Russell. I identify with her angst filled figurative work.
A large weather balloon was perched in the middle of the street. This was an installation called “Connections”. This sphere had video projected on it by students from UCF. I wandered the street because for a solid block artists were out and working on their creations for the duration of the evening. It had been raining rather hard at the beginning of the evening and most artists were under awnings. I followed their lead and sat down under an awning across the street from City Arts. Antonio Santos was painting right in front of me. He was working on a religious themed painting with the figures glowing in a mystical cloud. Jimmy Margary was painting two rather cartoony frogs.
Michael Moore was set up on Orange Avenue somewhat isolated from the rest of the artist crowd. His work uses stencils and spray paint for a quick effect. I started my sketch since I was trapped by the rain. I hoped he might work on his painting but he ended up talking to a friend for the duration of my sketch. Around the corner a woman and man were arguing. She yelled, “I’m waiting to have fucking dinner with you! That is what our fucking plans were!” The man was yelling back, “I show up and you’re all like…” I lost track of what he was saying as I walked away. A homeless man looked at me smiled and shook his head. I smiled back, amused.

Trivia – Hamburger Mary’s

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Terry and I went on a double date with Amanda Chadwick and Matt Simantov at Hamburger Mary’s. The small stage in the corner was already set up with a microphone and questions were being lobbed out to the crowded room. Sheets were handed out where answers could be filled in. The first order of business was to figure out a team name for everyone at the table. After much discussion, we decided our team would be called Cuntry Blimpkins. I had never heard the work blimpkin before, but Matt went on to explain it and I don’t think I should repeat it here. You are better off not knowing. Other team names of note included, Your Earwax Tastes Better Than My Dick, Eat Rim Love, and Grandmas little vibrator. You get the general idea and flavor.
Here are some of the questions presented in the “Gay, Gay, Gay” round.
Who designed Cher’s costumes?
EOCPHUANLIACRPSM This is two words and a magazine popular with lesbians.
Al Pacino played a homosexual in what film?
What homo is getting a talk show on the Opera Winfrey Network?
What was Julias’s son’s name on “Designing Women?”
What actor did Will marry on “Will and Grace?”
What “Facts of Life” star has a movie coming out in which she plays a fag hag?
Who wrote the book “La Cage Aux Folles?”
Our team did really good in the first round, coming in second place. We were shocked when the table next to us had copied our team name. They spelled ‘Country’ the traditional way, however. Our ranking slipped gradually in the subsequent rounds, but regardless of there we placed the evening was a blast.