I went to the Mennello Museum of American Art to watch and sketch Beth Marshall’s, “The Pollock Project“. This performance was a unique collaboration with drama intertwined with performances by the DRIP dance troupe. The first evening I focused all my attention on the beginning of the performance which took place outside the front steps of the museum. I had seen this DRIP dance routine in rehearsals so I was curious to see the final performance. I had not realized that audience members were encouraged to sit right underneath the Plexiglas canvas as the dancers painted it. As soon as Jessica Mariko told me this I put down my seat and staked out my claim on this prime seating real estate. I started a sketch from this vantage point but ended up erasing it since I felt I would need a much larger sheet of paper to catch the wide angle view. When more people crowded under the Plexiglas “canvas” I decided to pull back and sketch from a short distance to catch the audience. I was still working on the sketch when the audience went inside the museum for the second act. Stubbornly I remained behind to finish my sketch. When the audience returned back outside I was still hard at work.
I returned for the second performance so I could experience the show firsthand as an audience member. This time I remained under the Plexiglas to watch the DRIP dancers as they went through their ritualistic dance and painting routine. A little boy seated behind me said to his mother, “It looks like syrup.”
Inside the museum the drama unfolded as Hans Namuth, a photographer, interviewed Pollock in front of the two original paintings on exhibit in the museum as part of the Auspicious Visions exhibition. The interview gets heated when Hans mentions to Pollock what some critics said about his work, for instance a 1959 headline read, “It’s a bad joke in bad taste.” Pollock goes ballistic, angrily pacing around the room defending his work. He storms out of the room and shouts back that he wants the photographer out of his house. Lee Krasner, his wife, manages to calm him down and in a more levelheaded way he tries to explain himself to Hans. He explains that his pictures do not have a beginning or an end, that style isn’t important. His method is a growth out of a need. Lee explains that Pollock’s painting are numbered rather than named since Jackson doesn’t want people to have a preconceived notion of what they are looking at. Where he to title a painting, “Horse”, then people would find a need to see a horse.
I felt that John DiDonna gave a memorable performance at the temperamental Jackson Pollock and Douglas McGeouch’s quiet demure performance as Hans Namuth stood in stark contrast, offering a calm in the storm. Jennifer Bonner with her thick Brooklyn accent was a believable Lee Krasner, who had her hands full trying to keep Jackson steady through his violent mood swings. The small gallery room was crowded with the audience all standing on the outer walls trying to leave room for the angry Pollock. The tight space added to the claustrophobic feel of the drama.
The third act takes place back outside where Jackson Pollock paints while Nemuth shoots his film footage. It is during this act that the collaboration is in full effect. The DRIP dancers, now free of the ladders are given full reign to express themselves through dance. Jackson dances around the canvas creating his “action painting” as the dancers perform. I was particularly moved when audience members each read a quote about Jackson Pollock. It left me feeling that no matter what critics might say, it is the people viewing the art who will finally decide its worth over time.
Chemonologues
Marilyn Wattman, a cancer survivor, wrote Chemonologues and I went to the first reading of the play at Theatre Downtown (2113 North Orange Avenue). The play reading was supported by a professional development grant from United Arts. When I got to the theater, the front doors were locked. Tommy Wingo was also waiting with a huge collection of sound equipment. He made a cell phone call to Brian Feldman, Marilyn’s son, and was told to knock loudly. Sure enough, after several loud knocks the doors opened. Marilyn immediately greeted us and showed us into the theater. Tommy set up in the center section and I sat down at stage left and started sketching the stage area. I used my time by penciling all the chairs in the proper locations and when the actors arrived I sketched each in ink on a chair. The theater is a dark intimate space and I fell in love with it immediately.
Chemonologues is set up as a cancer survivors support group. Marilyn interviewed dozens of cancer survivors in order to find the different voices in the play. She began as a reporter but over time realized she was personally and intimately involved. During the talk back after the reading, Mr. Feldman got choked up as he described how Marilyn hated going to support groups. He continued by pointing out the never-ending costs of cancer; medical bills keep piling up and there is no way for the family to deal with it.
Several times during the reading characters clashed and disagreed, but overall the play was more educational rather than dramatic. The information is presented in a preachy manner at times rather than being presented through conversation and action. For me, the play ran too long, but I can see the amazing potential in the premise. One audience member pointed out that too many of the characters in the play were in the acceptance stages of the disease. She wanted to see other stages of grief and denial, like anger, bargaining and depression. She pointed out that it would be nice to get more of a feeling of the day-to-day struggles of living with cancer, and how our health care system often leaves survivors up the creek without a paddle.
The harsh realities presented in this play are difficult to face, but I do feel I understand and can empathize more with families that have to live with the disease. Most everyone I know has had their family touched by cancer at some point and yet it is not something that we talk about very often. This play is a diamond in the rough that could still use some more polishing.
Thumbs up to the cast who only read the play once before this reading and to Marilyn who is taking bold chances, and I hope she continues to do so.
In The Heights – Chat Back
I went to a Chat Back at Barnes and Noble for “In the Heights”. Rayanne Gonzalez and DeWitte Cooper sat in front of a small audience on the second floor of the book store. I arrived a few minutes late and as I sat down DeWitte was explaining how he got the part of Benny in the show. He was working for Disney in the Finding Nemo Stage Show. He got a call from a friend saying that “In the Heights” was looking for actors of his general build and age. So he took a trip to New York City and auditioned. Of the 300 actors who auditioned the first day, only five remained and he was one of those five. The auditioning continued for another three days. When he realized that he was being considered for the lead part he poured his heart and soul into the audition. He said that the cast really gets along well and that it is like an extended family.
Reyanne has a young daughter that she is taking along with her on the tour. She makes sure her daughter visits every children’s museum and aquarium and zoo in every town they visit. She is hoping this education will stay with her daughter for a lifetime. When asked what she felt is unique about “In the Heights“, she said the show is about community and pride in the place you live. It is about discovering what it is that makes you feel like you belong. It is about home, family and hope, all universal themes not limited to the Washington Heights community.
I lived in Washington Heights for ten years. The block this play takes place on is just a few blocks away from my old apartment. I have sketched on the streets where this play is set many times. I am very familiar with this neighborhood with its corner bodegas and backgammon played on cardboard boxes. It is a shame that when I lived there I was always dreaming of getting out of the neighborhood, to make my mark somewhere else. This play reminds me that there was a vibrant community right under my nose if I had just taken the time to get out and discover it. So now I find myself in Orlando, and now I am reaching out and trying to discover the community that I call home.
Driving Miss Daisy – Cue-to-Cue
I went to the Garden Theater (160 West Plant Street, Winter Garden) to sketch a cue-to- cue of Driving Miss Daisy, written by Alfred Uhry, produced by Beth Marshall and directed by Aradhana Tiwari. The play runs from February 12th to the 28th. Beth Marshall asked me to sketch this rehearsal only days after she and her husband Chris Foster were in a head-on automobile accident with a truck that pulled onto the road without looking. Chris had a fractured wrist and both of Beth’s legs were fractured. As Beth said in a Facebook status update, “We are blessed to be alive, have health care coverage, did not have any kids or animals in the crash and feel your love, energy and prayers. I write for him and he walks for me. True love.”
When I got in the theater things hadn’t gotten started yet. At first, I sat in the front row but then Aradhana said I should sit halfway back in the house so I would not looking up at the set. She IS the director so I obliged. The lighting designer, Amy, had bought in her baby, a small wide-eyed bundle who knowingly checked me out as I walked by. The director spent some time holding and playing with him before the rehearsal got started. Michael Mormon. who plays Hoke, recognized me from when I sketched the auditions and he walked over to shake my hand and flip through a sketch book. It turns out he is the face of Mardi Gras at Universal Studios, and he wouldn’t mind getting more of this still photography work.
When the audience walks in to the theater they will be greeted by a starry night sky above the theater seats. Aradhana leaned back in her theater seat and looked up at the stars and said, “They are magical aren’t they?” The stars then fade as they go to cue 2. A vintage recording of “Pennies from Heaven” filtered through the theater. One of the first scenes had the sound effect of an automobile accident and the sound was for me, jarring and unexpected. This is the scene where Daisy, played by Elizabeth Murff, runs her car off the road and thus the son, Boolie, played by Michael Lane, decides that she needs a driver. I couldn’t hear that sound without thinking of Beth and Chris.
A cue-to-cue is when the actors are asked to go through each scene with lighting and sound being cued up. This is a grueling start and stop process for the actors who are sometimes just asked to stand around like mannequins while the lights are adjusted. Just as the actors get into the flow of a scene, they might be asked to stop while lighting is adjusted. Sometimes, the actors would joke around like when Michael repeatedly slammed the imaginary car door with the sound cue slamming every time. He had me laughing so hard I could not breath. After several hours of standing on stage, Michael Lane asked if there was a local who knew if the pizzeria was open. A booming loud voice came over the speaker system, “I think so.” Michael said quietly, “Thank you, God.” A half an hour later, everyone was enjoying the pizza on a well deserved break.
The house lights were always dark for the cue-to-cue so I had to sketch and paint in the pitch blackness. I discovered a new method of working where I turned on my tablet PC and used it as a light to work by. It is a rather high tech flashlight, but its glow worked wonders. The music that transitions from scene to scene in this show is wonderful. It sets a classic nostalgic feeling like I was experiencing the show in the 1930’s. As I exited the theater with my sketchbook under my arm, Louis Armstrong was singing, “Heaven, I’m in Heaven.” I had to pause before leaving. I sat down in the back row of the theater and leaned on the seat in front of me to let the music wash over me. I really didn’t want to leave the theater’s magic behind. I am going to try and get in opening night. I just hope it doesn’t sell out.
The Goat, or Who is Sylvia?
Play The Moment Productions is staging a reading of Edward Albee’s, “The Goat, or Who is Silvia?” This one time reading is happening TONIGHT at the Lowndes Shakespeare Center (812 East Rollins Street) in the Goldman Theater at 8PM. There will be free wine and free admission. Any donations made will go towards a new stage production titled “Project F” which is being created and directed by Aradhana Tiwari and produced by Matt McGrath.
I went to the first table-read of the play by the cast at Matt’s home in College Park. When we all arrived, Matt offered several options on places to do the reading, and we all agreed that it was such a nice day we should sit out on the sun porch. I went into the reading cold, knowing nothing about the play. The play starts out with Martin, a successful architect, played by Frank McClain, joking around with his wife, Stevie, played by Marty Stonerock. Their intellectual and playful banter sets the stage for a long-standing loving marriage. Later, Martin is talking to his best friend, Ross, played by Mark Baratelli. Martin goes on about how great his marriage has been, about how good his sex life has been with his wife, how they always know how to please each other. He says he might have been groped a few times at parties, but he has always been faithful. Then he talks about how his wife wanted to get a place out in the country. On a trip to the country, his life was turned upside down when he saw Sylvia. This was love at first sight and could not be ignored. Ross ends up telling Martin’s wife about the affair.
What follows is an argument that challenges all of our societies’ moral values. The affair cuts deep and causes a rift which cannot be repaired. All of this hard-hitting drama is laced with bitter humor and I was laughing out loud uncontrollably. This reading will certainly make you think. It makes me wonder what might lurk in the hearts of any happily married couple.
I had two cups of white wine while doing this sketch and listening to the reading. If any lines are wobbly or a likeness skewed I blame the wine. When I got home that night, issues bought up in the play still haunted me. I also heard that my stepmom’s health had slipped. I went on a bender, drinking a bottle and a half of white wine and watching an old black and white Spencer Tracy film. At the height of my stupor, I went online writing messages on Facebook. A chat window popped up, announcing itself with a chiming noise. It turns out the person on the other end of the chat had a bit too much to drink as well, so they will remain anonymous. I am usually put off by the chat window, thinking I am not typing fast enough, but this time around it was fun and effortless. This chat refocused my attention and bought me down to earth with humor and understanding. I am writing this extra detail because “Project F” is about social networking as seen through the lens of facebook; about how this new group dialogue affects every aspect of our life. Even statuses that are not read, affect us subliminally. Facebook has done so much to fuel this blog, and now I find that newly discovered friends offer light when my mood turns dark. Terry called me from Miami concerned about me as well. Perhaps there is no such thing as drinking alone anymore.
If you know nothing about The Goat, you will be shocked, stunned and amazed. This is an evening that you should not miss. Prepare to be challenged, your moral codes shaken and stripped bare. Just go. Then send me a message on Facebook and let me know how it affected you.
Driving Miss Daisy Auditions
Beth Marshall Presents will bring “Driving Miss Daisy” to the Winter Garden Theater February 12th to the 28th. I sat in on the auditions for this show. Seated at the table are Aradhana Tiwari, the Director, and Beth Marshall the Producer. This auditions process stood in stark contrast to the auditions for Crimes of the Heart. Crimes took 2 agonizing days for the cast to be solidified but this auditions process was fast and painless taking only about 3 hours with about a dozen actors and actresses auditioning.
One actress with a bit of a haughty attitude who reminded me of Sheila in Chorus Line, entered the room and when she greeted the director she wouldn’t let go of her hand. The actresses head shot was from about 20 years ago. After doing the reading she demanded to read another section of the play. Beth said that would be fine and she could come back in after the next set of actors had finished their audition. The actress said emphatically “I should say so”. After a long pause, Beth said, “You know what, lets not waist your time or mine, you can leave.” Beth felt bad for the actor who had auditioned with this actress. She could see that he was embarrassed by the exchange.
Another actress who auditioned for the roll of Daisy was about 30 or 40 years to young for the part. She walked in wearing a black dress with a white lace collar and a gray haired wig. She reminded me of Norman Bates Mother in “Psycho”. Beth glanced over at me and smiled. I was smiling as well. There is something charming about an actress going for a role which is so out of reach.
When I sketched the auditions I tried to pick the actors that I felt were best for the rolls to go in my sketch. At this audition I hit a home run and sketched Elizabeth Murff who will play Daisy and Michael Mormon who will play Hoke. I had met Elizabeth once before at Beth Marshall’s Halloween Party. Elizabeth had won for the best costume as a Cougar. Michael who is 60 had played the roll of Hoke 20 years ago. He has a natural ease and seems very comfortable in the role. Elizabeth brings a humor and honesty to the part of Daisy that is endearing. When she said “Hoke, you are my best friend” the sincerity of this unlikely friendship warmed me, even in this early reading.
As they were packing up to leave, Beth remarked to Aradhana, “Now I had experienced the most difficult and the easiest auditions ever with you.”
If I Had My Way by Joseph Hayes
If I Had My Way was written by local playwright Joseph Reed Hayes. This reading of the play at the Winter Park Playhouse was funded in part with a development grant from United Arts of Central Florida. The play is set in Central Florida in 1945 at a time when there was a POW camp where the Kissimmee airport is now located. Margaret Perry had left her southern home and was educated in Atlanta and New York. Her mother lived her whole life in the ranch home in Central Florida and when she became ill her daughter returned to take care of her. Margaret resented every aspect of having to work in the ranch taking care of her sick mother. She rejects friends and suitors until one day an Italian POW, bought to the ranch as replacement help, teaches her her the power of love though the beauty of fresh cooked food. Joseph read a section of the play in which Bernice, a young 19 year old woman who works in the kitchen, dreams about her future husband who she has yet to meet.
The play deals with bigotry and hate in the old South. Joseph says the play is influenced by the Blues and you can feel the lonely rhythm throughout. This is a serous play about lonely souls in hard times. Yet towards the end of the third act the actors talk about the scent of Orange blossoms which is a sweet smell that once experienced, is never forgotten.
I attended the reading because Darlyn Finch a local poet and friend had been asked to play the part of Mrs Alecia Jamison the ailing mother. Darlyn didn’t have to act to pull off a convincing southern accent and she did fit the part perfectly. In a question and answer session following the reading Joseph explained that the play is still a work in progress. Some lines changed as he worked with the actors. Even in this early stage the play packs a punch and I felt deeply for each of the characters. I hope that when the play is presented on the stage for the first time I will be there to sketch.
Trees – Glory in the Highest
Having seen the final production of “The Singing Christmas Trees”, I now know that “Glory in the Highest” is one of my favorite numbers in the show. Here Jenine, the choreographer, is teaching the children the dance moves. The children are arranged with the smallest in front and the tallest in the back forming perfect wedges. A proud father sits on the side lines shooting digital pictures of his child.
In the final production the core group was on the main stage doing hand signs to the music’s lyrics and the children were on the steps leading up to the stage. They were all dressed in flowing white robes and the long sleeves billowed as they moved. The hand signs were graceful, slow and beautiful when timed to the music. I have to sing every time I hear this song. I always like to skip a beat and then belt out “Highest” a moment after everyone else. The great thing about this show is how everyone rose to the task. Not everyone was professional dancers or actors but after months of dedicated rehearsals everyone came together as a group and put on a stellar show. If someone needed extra help to learn some dance moves another cast member would step up and offer help. Alone we can do so little, but together we can do so much.
At the beginning of one rehearsal a cast member pointed out to the circled cast that she had wanted to give up on the show. The work was hard and endless and she just wasn’t feeling any joy in the process. Her voice broke as she told everyone this. She read that night a verse that struck a chord in her. “In humility count others as more significant than yourself.” With that thought she decided to rededicate herself to the show, trusting in the director and the cast. When I saw her beaming on the stage swaying to the music during this number, I was filled with wonder and joy celebrating the strength of the human heart.
Trees – Core Line up
The night before I did this sketch, I saw the movie, Chorus Line, based on the long running Broadway play. In that show the dancers who are auditioning are asked to reveal intimate, sometime painful details of their life as a performer in order to stay in the show. When I entered the First baptist Church and saw the core group lined up, I instantly was reminded of those scenes where the cast waits in a Chorus Line as the mysterious director sits in the hall with a microphone calling the shots. Here the director, Aradhana, has the group lined up in order to decide if the winter costumes all in blue, gray and white, are working. Actors were asked to bring in whatever they had in those colors from home to save money on costuming costs. Sometimes they were asked to trade items with each other such as scarfs or coats. It was decided that some items would have to be purchased such as blue and white striped shirts. The actors are going to have to dance in these outfits and there was some concern about how hot they will get under the stage lights. When the costuming choices were made, the core group rehearsed the Winter Medley which is an energetic dance number. Joshua, who I believe has never lived in a cold climate didn’t have a coat or scarf. The director at one point asked if he could trade his shirt with another actor but then thought better of that idea.
I wandered behind the trees and found that work is still being done to wire them for the show. Jeff has just finished with the computer programming of the lights so the 45 foot high trees should be lighting up soon. Microphones are now mounted to the trees every few tiers. The orchestra pit now stands ready for the music to begin.
Trees – Oh Holy Night
I arrived late to a Trees rehearsal on Sunday after a sketching assignment for Orlando Home and Leisure. As I walked in the worship center, “Oh Holy Night” was playing and the core company was on stage with their arms raised in reverence towards Mary and Joseph who were perched on top of a monolithic stage platform which had been erected on stage. Since I last saw this stage set piece, it had been painted black. The core group slowly lowered their arms which had an amazing dramatic effect with the music playing. Later a choreographer said she got goose bumps at this moment.
Then the actors approached each other as if discussing the wonders of what they had just witnessed. Aradhana the director got on the stage to show them how to push or exaggerate the action so it would play to the back of the worship center. She approached an actor with so much energy and enthusiasm, that the actor, caught off guard, had to take a step back. She wanted everyone to act with conviction and certainty. The point made in a humerus way is certain to never be forgotten by the cast.
So many things go on simultaneously in this show and yet the emotional focus is never lost. For instance during a number when the core group is dancing on the stage, a large group of teenagers is lined up along the edges of the worship center and they swing to the beat. During another dance number the choreographer shouted out “This is about Jesus, so I want major smiles!” Sometimes surprised when I see a number I had seen rehearsed before. As an artist I am always trying to catch quick isolated moments while the bulk of the show rolls forward. I always feel I am trying to catch up to the action.