39 Steps Rehearsal

Back in January at a Florida Creative’s happy hour, I first found out that Ryan Price was planning to produce a Fringe play built around “The 39 Steps” a 1915  adventure novel written by John Buchan. It was later adopted by Alfred Hitchcock in a 1935 film. Becky Lane is directing this adaptation in which every show will be improvised based on audience suggestions. In early rehearsals Becky told me that the cast did view point sessions in which the actors walked an imaginary grid and worked as a group becoming a cohesive cast.

This Invisible Frisbee Productions rehearsal was held in a Winter Garden warehouse just two days before Fringe opened. A huge ventilation fan moved the humid air. A tarp was put on the floor because in one scene there is a murder and they didn’t want the corpse to have to lie in saw dust or metal filings. In this rehearsal the cast of four went over the introduction and the sequence of events that were needed to get the audience feedback. Since I was essentially an audience of one, Becky had me fill out eight chalkboards with answers to two questions. One question was to write down a job of someone in my party that was suspicious. I’ve found people to be suspicious of artists so that was my first answer, the others that I recall were a teacher and mailman. The other question involved picking a character trait of someone in your party that they are proud of and then write down the opposite. I recall writing excitable, angry and sloth. Those chalk boards were hung on the front of the boxes and helped defined the backgrounds and personalities the characters.

My other responsibility was to hand out playing cards that each character picked to choose their roll in the comedic drama. Max Hilend, the wild card, was hilarious as a lazy sloth of an artist. He spoke slowly with little to no enthusiasm. He discussed the one painting he does a year, and even the cast was laughing, and peaking at the words that defined his character. Nadia Garzon with a red rose in her hair was funny and entertaining as a high strung excitable art teacher. I decided she had to be the lead character, Hannay, based on her hilarious performance. Megan Borkes was a disgruntled spy and in a scene with Nadia, the two played off each other wonderfully. The villain was the black bearded Christian Cheker in his black shirt and military cargo pants. To me these roles seemed predestined. It is exciting watching the scenes unfold with the even actors not knowing what would come next.

The sets were defined with the boxes rearranged in each scene as chairs as well as a table, ladder and a window on a tripod. Nadia stayed in character as Hannay and had me laughing consistently with her innocent enthusiasm and endless curiosity. I glanced over to see the director, Becky, laughing out loud as well. It was such a delight to know that this performance was unique and as an audience member, I helped mold the performances. As Hannay was entertaining the spy in her home, Max opened the window and blew a dart into the spy’s neck. That sudden murder changed Hannay’s fate, forcing her to follow through on the spy’s mission, now being accused of murder, and on the run from police and the villain who was easily identifiable because of a unique, sometimes rude feature picked by the audience.

The cast took me on an amazing playful ride while asking me to suspend disbelief and fill in what was needed with my imagination. Be sure to check out this show at Fringe, your experience will be new and completely unique. It is theater in its truest form with murder, intrigue and plenty of laughs and unexpected turns.

Where: The Pink Venue

Tickets: $11 along with your Fringe button.

When:

Thursday May 16, 2013 at 6:00PM

Saturday May 18, 2013 at 6:45PM

Sunday May 19, 2013 at 11:15AM

Tuesday May 21, 2013 at 11:15PM

Wednesday May 22, 2013 at 9:30PM

Saturday May 25, 2013 at 4:30PM

Sunday May 26, 2013 at 2:45PM

Frost Nixon

In the Mandell Theater in the Lowdes Shakespeare Center,”Frost Nixon” written by Peter Morgan is being performed through April 28th. Stephan Jones does an astonishing performance as Nixon. His performance isn’t a satirical caricature but an honest look at a man with insecurities and pride. As a elementary school student I used to enjoy doing political cartoons of Nixon so from an early age I understood his charisma. Timothy Williams performs as David Frost, a talk show host looking to score the biggest interview of his career. John Bateman as James Reston acts as the narrator who has had a long time desire to see Nixon admit and repent for his wrong doing. In a humorous moment he meets his long time nemesis and he goes mute and shakes Nixon’s hand. Nixon turned smugly away with his best attempt at a grin.

The interview itself was like a prize boxing match with Nixon evading question with his long winded rope-a-dope memories and effusive tales. In the first round Frost sits back overwhelmed and exhausted by the ex-presidents long winded and empty answers. The actual interview went on for hours but it is thankfully edited down for the stage production. The interview is cut into four bouts and by the end it seemed like Nixon was a bull that wanted to feel the pain of the matador’s sword.

After the show, the cast assembled on stage for a question and answer session with the audience. Director John DiDonna asked theater reviewer Steve Schneider to join them on stage. Steve wrote a glowing review of the performance but hated the historical inaccuracies of the play. He stated that Nixon never admitted to the Watergate cover up and any younger audience members might accept the play at truth. Artists have a responsibility to present the truth. He equated it to journalistic integrity. Going to the theater to learn history is like going to “The Daily Show” to get the news. John asked a class full of college students, “Who is Nixon?” Only three students raised their hands. The play offered Nixon a redemption that he never had in real life. How much artistic license should be allowed before historical accuracy is ignored or turned on it’s head? To illustrate his point, Steve suggested, we imagine that a Japanese playwright decided to write a play about World War II in which there was no Pearl Harbor. Instead Japan is forced into the war when America stages a sneak attack on the Japanese Navy Fleet. Could that be an entertaining play? Certainly, but it would be divisive and inaccurate.

You have just 3 chances left to see this amazing production.

Friday April 26th  at 8PM

Saturday April 27th at 8PM

Sunday April 28th at 2PM.

Marjorie Kinnan Rawlings Historic State Park

Marjorie Kinnan Rawlings wrote the Pulitzer Prize winning Novel “The Yearling” while at a typewriter on a hand made table on the front porch of this old batten board house first built in 1884. Marjorie moved into the home in 1928. She renovated the building adding indoor plumbing which was incredibly modern for the day. The home is in Cross Creek which was a several hour drive north of Orlando. The property has a small orange grove, a barn, tenant house, a garden and plenty of chickens and ducks. Terry took the tour while I sketched the 1940 Oldsmobile in the carport. The Yearling was written in 1938 and it was made into a movie staring Gregory Peck in 1946.

One of the women on Terry’s tour had been to the Rawlings home before. She thought that the ducks on the property were animatronics since they have no fear of humans.  She decided to step over a duck and one of the caretakers insisted she leave. When the tour reached the south porch, which is in my sketch, the tour guide told the story of the ice man delivering ice for the ice box. He found a snarling raccoon in there and told Marjorie he wouldn’t return until she removed the varmint.

The guest bedroom had such distinguished guests as poet Robert Frost, authors Margaret Mitchell and Thornton Wilder, artist N.C. Wyeth and actor Gregory Peck. Marjorie was friends with author Zora Neale Hurston from Eatonville Florida. She visited Marjorie but since Zora was black she couldn’t sleep in the house. She had to sleep in the tiny tenant house with the help out in the orange grove.

A bold red rooster lead a brood of hens around the yard and the ducks seemed content to soak up the sun.  Fluffy new born duck chicks bobbed like corks in a small pool near the hen house. Time really feels like it has stood still at the Rawlings home. Marjorie died in 1958. Major restoration to the home was completed in 1996 and preservation work is ongoing.

Terry and I had lunch at the Yearling Restaurant down the road where Willie Green played the blues.  A sparrow seemed intent on getting inside. It flapped its wings and fluttered up and down against the window pane unable to pass through the mysterious glass. The fried green tomatoes and catfish were fried and filling.

“Bless Us”, I thought, “the world must be hungry.” And so it is. Hungry for food and drink-not so much for the mouth as for the mind; not for the stomach, but for the spirit.””

– Marjorie Kinnan Rawlings

Madama Butterfly

There are just two performances of the Orlando Philharmonic‘s production of Giacomo Puccini‘s, Madama Butterfly. One performance is tonight (April 5th) at 8pm and the other performance is Sunday (April 7th) at 2PM. You can get tickets at orlandophil.org, or at the Bob Carr Performing Arts Center box office two hours before each show.

I went to a dress rehearsal. I entered via the stage door at the same time as the set designer Lisa Buck. This was a semi-staged production, so the set was kept pretty simple. A really nice touch was that Lisa projected images on a large screen behind the orchestra. The images would change between each emotional shift in the opera.  Over 100 of the gorgeous images added much to the production.

Since I was sketching, I didn’t have time to look up at the closed caption translations above the stage. Since I was seated in the front rows I would have had to crane my neck. I’ve seen Madama Butterfly before however so I knew the story. If you have never seen an opera before, then I would encourage you to see butterfly. It could very well make you a convert.

Before the opera began, a gardener shuffled out and raked the gravel in the rock garden. He might not be a major character in the plot but I had to catch him. In the first act, Benjamin Franklin Pinkerton, a lieutenant in the U.S. Navy, played by Brian Jagde, fell in love with Cio-Cio San, Madam Butterfly played by Shu-Ying Li and there is a glorious marriage ceremony. Butterfly converts to Pinkerton’s christian faith to be closer to him and she is renounced by her uncle a Buddhist priest. Pinkerton leaves Japan and three years later Butterfly is penniless with his son who she named sorrow.

Butterfly hears the sound of a cannon from the harbor and she is sure that Pinkerton’s ship has returned. She stands vigil overnight, waiting and ever hopeful. Pinkerton does finally return, but with his American wife. Love lost leads to tragic consequences.

13 in 13

Orlando Playwright, Joseph Reed Hayes, will offer audiences 13 artistic projects in 2013. Determined to focus on his artistic passions
in the new year, Joseph will spend the
next 12 months bringing 13 separate creative projects to life. His
“13 in 13” project takes everything he’s learned as a playwright, music
producer, freelance writer, radio guy, spoken word performer,
photographer, voracious techno-geek, and shameless self-promoter to
energize one art-filled year of events and engage and excite Orlando and
a worldwide Internet audience. The first event on February. 5th will be a screening of  “Big Easy Express“, an area-exclusive screening of the
critically-acclaimed, Grammy-nominated movie at the Cobb Plaza 12 in
downtown Orlando. I sketched the theater as the sun set on another business day. The movie tickets to this screening must be reserved by January 30th. As of this writing, 16 more tickets needed to be sold to guarantee that the theater is reserved. Get your tickets now.

The 13 productions in 2013 will be financed in part by a Kickstarter
crowd-funding campaign, which ends January 27th, and will include five
Hayes-produced jazz shows, two of his original plays and a brand-new
live Holiday radio drama, two workshops, a photo exhibit, a movie
screening and a spoken-word performance. In designing this ambitious
year-long project, Hayes will bring his work and the talents of many
local musicians and actors to new audiences in person and online during
live streaming events. Hayes has designed the Kickstarter campaign to help engage theater and
jazz lovers in Orlando.  “I’m asking my audience to help me create this
year of art, and spread the word. I’m excited about what I’m going to
attempt in 2013, and I think together we just might make it happen,” he
said.

Every artist involved — 19 musicians, 11 actors, 8 directors and theater
technicians, 4 writers, 1 chef, a sound-effects person — will get paid,
because Hayes believes talent and art have great value, and that value
should be rewarded. Videos, audio recordings, photo books and posters
will be created for each project, and most of the events will be open to
the public, some at no charge. Many of them will be streamed online, as
was his breakthrough United Arts of Central Florida-funded House
Theater Project in 2012, which staged his play “A Little Crazy” in his
living room and reached viewers as far afield as England, Italy and
Romania.

13 in 13 Events:

1. Feb. 5: “Big Easy Express“, an area-exclusive screening of the
critically-acclaimed, Grammy-nominated movie at the Cobb Plaza 12 in
downtown Orlando.

2. Feb. 9: “Creating an Audience and Shameless Self-Promotion“, a
Downtown Credo Conduit workshop by freelance writers and guerrilla
marketers Jennifer Greenhill-Taylor and Joseph Hayes.

3. April 4: Trumpeter Brian Groder and pianist Tonino Miano — musicians,
composers and educators from New York — conduct a master class in
composition and jazz improvisation at the UCF Jazz Studies Department.

4. April 5: “Jazz in the Real World“. Groder and Miano take their
students from the UCF Jazz program out of the classroom and into a real
world gig.

5. April 7: “FluiDENSITY” premiere. Groder and Miano premiere their new CD of

modern classical/jazz improvisations at the Timucua White House.

6. June 25: “Jazz On Edge Supper Club“. Vocalist Heather Friedman and
her trio perform at Hannibal’s on the Square for a special dinner and
jazz supper club.

7. TBA: “SOLOS.” House Theater Project production of Hayes’ Orlando Fringe Festival hit jazz play.

8. TBA: “SOLOS AFTER HOURS” — a House Theater Project/Jazz On Edge joint
presentation of “SOLOS” with a live band, followed by a cabaret
performance of the Solos Quartet with guest vocalist Lulu Picart.

9. TBA: “Water Cities“, an exhibit of photographs of great world cities by Joseph Reed Hayes at Downtown Credo.

10. TBA: “13in13 Reading Series.” Spoken word performances by novelists
Julie Compton and Jennifer Greenhill-Taylor, playwright Joseph Reed
Hayes and poet Summer Rodman.

11. TBA: Jazz On Edge House Concert featuring the 5th anniversary Jazz On Edge presentation, which will be streamed live online.

12. TBA: House Theater Project will feature the world premiere of “A SLOW RIDE” by Joseph Reed Hayes. Streamed live online.

13. Dec. 2013: “THE LITTLE DICKENS,” An original “radio drama”
production of Hayes’ cracking new Holiday show, presented in front of a
live audience and streamed online in audio and video versions for
enjoying by the fireside.

Hedwig Manifestation

 

Director, Tara Corless, invited me to sketch as actor Brian Thompson got ready for the final night’s performance of Hedwig and the Angry Inch at the Majestic Theatre and Lounge inside Revolution Nightclub ( 375 South Bumby Avenue). I arrived a bit early and all the doors to the club were locked. A fellow with long dark hair was waiting in the parking lot. It turned out he had left his cell phone in the club from the performance the night before. He had been waiting since 4PM and I believe the performers started arriving around 6PM. The lead actor and actress, Dorothy Massey who plays Yitzhak, and  Brian, who plays Hedwig, pulled up in a van. All the costumes were piled up in the back and they opened the tailgate and started eating their takeout Chinese food. Andy Matchett pulled up, rolled down his car window, and he asked if anyone wanted a drink since he was making a drink run. Dorothy began relating Saint Augustine ghost stories as the sun set. Every fifteen minutes or so, Cessna airplanes would swoop down over the Club on their approach to the Executive Airport.

The dressing room was maybe 10 feet square and the entire cast had to use the space. I found a spot to sketch from, and I checked with Dorothy to make sure I wasn’t blocking anyone. It would take a full two hours for Hedwig to manifest and transform himself into a woman. His eyebrows were already shaved which would save time. Dorothy explained that her transformation to a man would take much less time. Stage manager, Ally Gursky, arrived with a container of fresh baked chocolate chip cookies. She had skinned her knee the night before and somehow every piece of musical equipment carried through the dressing room managed to bonk her raw knee. Being insensitive, I couldn’t help but chuckle.  On her iPhone, she played a wonderful video that pointed out the obvious and hilarious reason to be supportive of gay marriage. Then Tara arrived with containers full of red white and blue cupcakes left over from Veterans day no doubt. Dorothy straddled Brian’s lap and started painting decorative swirling eyebrows. Andy arrived with a bottle of Burbon. He said to me, “Care to take that sketch to the next level?” He filled my cup and asked if I wanted some Ginger ale to water it down. I decided to taste the burbon first. My throat lit on fire and I whispered, “Yep, I need some ginger ale.” My lines loosened up with each sip. Dorothy started dancing in wild abandon to “Do It With a Rockstar“.

One of the Guitar players started to thank every one. “I started this show tentative and unsure, but you all made me feel at home. Thanks you everyone for your friendship and support, I’m going to miss you all when this show is over.” Andy said, “No problem, Uhm, what is your name again?” Everyone laughed. Tara circled everyone up for a pre-show ritual. Half of the cast circled up their index finger and thumb creating a cavity in their palms while the rest of the cast inserted their index fingers in the warm cavities. All their hands and wrists intertwined. Ally shouted, “Five minuted to show time!” actors shouted back, “Thank you 5!” There was an electric excitement in the air. Tara announced that they had 30 people in the audience, that was the largest audience they had in the entire show’s run. Andy claimed that on some nights they performed with only three people in the audience. This was a case off life imitating art imitating life,  The band went on stage and  a flash of electric music filled the theater with the Origin of Love. These rock stars were ready to raise the rafters!

Disenchanted: Bitches of the Kingdom

Disenchanted: Bitches of the Kingdom is having an extended run through August at Mama Mia’s because performances kept selling out. Word of mouth travels fast and these Bitches are rising fast. This hilarious production features the songs of Dennis Giacino and is directed by Fiely Matias. I have loved this production ever since I saw it at the Orlando Fringe Festival. The incredible Michelle Knight has reprised her roll as a saucy Snow White and she shines in the spot light. She started out the show belting out a note and holding it so long, the audience started screaming, laughing and clapping endlessly.

The room had a small semi circular stage big enough to hold Dennis behind the grand piano and the princesses.  The audience filled the small room seated around small tables. The cabaret style show suited the intimate space. Jenny Lee Stern began as Belle who sang Insane! Her hair was tightly pulled back and her eyes fluttered wide and bewildered as she watched the other princesses perform. As The Little Mermaid, her hair came down and she added an unexpected hard edge to the part with a biker chick attitude and tattoos. I ended up sketching her twice by mistake. This production is still in development, but it is destined to be an off Broadway hit in 2013. The show is moving to  Missouri next. Auditions are being held Friday, August 24 for its production at Stephens College in September 2012.

Pepe

Pepe made an appearance on the outdoor stage at Fringe. Pepe is flamboyant and colorful. His spiky red Mohawk could be spotted from across the lawn. He spoke with a thick rich Spanish accent calling everyone, mommies and poppies. Logan Donahoo joined Pepe to talk about the Fringe show he was directing called, Cannibal! The Musical. Pepe is always funny. He made fun of the fact that he had been reduced to performing on the outdoor stage.

Ruby Darling, dressed in a Star Trek uniform got on stage to promote Skill Focus Burlesque. She performed a sultry dance number and the uniform went flying. She then told Pepe she had a superpower. A male performer got on stage with her and she said in a commanding voice, “Take off your clothes.” He complied. Pepe perked up and shouted his glee. Women in the audience screamed and laughed. Skill Focus burlesque had been called to perform at the Fringe at the last minute when another show canceled. For this reason, they weren’t even in the printed program. They had to rely on word of mouth and a little skin to promote their show.

I went to a performance of Hysteria Repeats Itself! Mike Maples was in the cast and the executive producer, Kelly Rands introduced himself when Terry and I entered the Blue venue. I knew that Hysteria would be a series of fast paced skits, so for once, I left the sketchbook closed. This was the first night’s performance and unfortunately there were fewer than ten people in the audience. Much of the show was political satire. The performance was funny and intelligently written. Several Sondheim show tunes were given new lyrics that were fun and fast paced. Terry was laughing loudly. Later Mike commented that her loud laughter made up for the size of the audience. The next performance was sold out which made perfect sense.

Cannibal! The Musical

Cannibal! The Musical was written for the stage by Trey Parker who is one of the South Park writers.  I know the director, Logan Donahoo. I’ve sketched him putting on make-up to become one of the Sisters of Perpetual Indulgence. I’ve also seen him in several past Fringe productions. The volunteer at the door was convinced that the director of the play was a woman. Logan is a beautiful person, but the volunteer must be blind. Terry and I were smuggled into the theater via the stage door and we walked off stage to front row seats. Logan was so gracious. I’m getting used to some of the chaos of Fringe.

The play is about a group of pioneers dream of a better life out west. It took place across Utah, the Colorado Territory and at a Ute Indian Reservation in 1874.  The Indian chief, (Danny Garcia) did a hilarious imitation of Pepe who is a flamboyant local entertainer. As the title implies, they are challenged by the wilderness and a few survive as cannibals. We were seated right near the pianist. The production had so many silly embellishments. A sexy horse was played by a female with a string bikini top and loin cloths. When the owner pet her, she would wrap a leg around him in a sensual embrace. It was both funny and unsettling. I noticed she couldn’t see very well with the horses head on as she groped for the stage exit.

The fire was an inflatable pool toy. All the songs were tongue and cheek. A group of people in the front row obviously knew an actor since they squealed whenever he was on stage.  An older lady was obviously drinking since she talked loudly and reacted with childish loud enthusiasm at plot twists. I wondered if she was a planted cast member. You had to be a South Park fan to get some of the humor, so Terry was lost at times. I laughed loud and often.

There was some extraneous full frontal nudity and a sensual horse striptease with tassels. Who can not love a musical number entitled “Hang the Bastard!” The cast seemed immense for a Fringe production with towns people, Indians, trappers, squaws, a horse and a sexy sheep. The play ended with the spirited “Shpadoinkle” finale. When the cast took their final bow, I suddenly realized that the sensual horse was played by Sarah Lockhard who is an actress and dancer who seems to be everywhere at once at the Fringe. She was in the very next production I sketched called, Connected.

Dog Powered Robot and the Subsequent Adventure.

I arranged to meet the cast of Dog Powered Robot at the loading door of the Orange Venue at the Orlando International Fringe Festival. As I approached the green lawn of fabulousness, I realized I didn’t know where the Orange venue was. I decided to go inside the Shakes and that was a correct guess. Brittany Wine, the DPR stage manager was at the stage door in a stunning red dress. I asked about the loading door and she lead Gina Makarova and myself through a maze of hallways and back doors. Gina was using crutches and had on a temporary cast. It seems her cello had decided to wrestle her to the ground.

The DPR army gathered behind the theater along with a small mountain of cardboard robot parts and set pieces. Grace “Scully” Nolan had seen the DPR billboard on the drive over and the server saw her Blue DPR shirt and commented on how she loved Dog Powered Robot.  The servers name was Destiny which forebode a super awesome performance. Fisher was a furry bundle of energy and he barked his welcome an more people arrived. Evan Miga explained that a life sized VW van would drive across the stage Flintstones style, giving this Fringe show effects bigger than the helicopter in Miss Saigon or the Phantom’s chandelier. . The metallic garage door opened, Christie Miga picked up Fisher and the DPR Army started moving the corrugated cardboard city inside.

I thought I wanted to sketch backstage, but most of the robot parts were out on the floor of the theater. I sat in a front row theater seat, but the arms were too restrictive so I ended up sitting on my artist seat partly on stage. Brittany announced, “5 minutes to house open!” and someone shouted back “Thank you 5!” I couldn’t believe it, my sketch was barely blocked in. I would have to finish as the show progressed. Cast members in black outfits with black helmets with red miner’s lights roamed the room scanning with a long pole with a spinning light rainbow device. They muttered to each other in an alien dialect reminiscent of a Muppet’s song. The rear projection screen announced that they were Ninja Noids and were invisible. That didn’t stop the Ninja Noids from interacting with the audience as they arrived. There was playful theater magic from the start. I sketched Vic-16, (Corey Violence) and Commodore, (Zach Scot) but they only had bit parts to introduce the play.

Lolly Bot (Serafina Schiano) was delightful and she was given time to shine. Audience members were offered a $1 discount if they showed up as a robot. Her counter part, a punk purple bot, Scraperella Overdrive, played by Jennifer Guhl, added sass and attitude to the show. The villain was a grumpy old neighbor who had robotic arms played by John Moughan, and by the end of the show he had used the embigi-fication matrix to extend his reach with many giant arms. I will not give away any of the plot points other than to say that the friendly blue Dog Powered Robot saved the day. The show had the audience laughing out loud and they cheered for Fisher, the little Pomeranian at the heart of the bright blue bot. The show returned to the dreams of the big city ideals that were
endearing in the short production two years ago. It is hard to recreate the energy and surprise of that initial production. Call it destiny or call it fate, the show was a super
awesome mega win!

Show times are:

Wednesday 5/23 at 5:15PM

Thursday 5/24 at 7:45PM

Saturday 5/26 at 1:15PM

Sunday 5/27 at 3:15PM

Tickets are $11.