2011 Fringe Lottery

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The tension was palpable in the circular Patrons Room in the Orlando Shakespeare Theater this Monday night. A single folding table was set up at the front of the room and seats were set up in rows for the anxious crowd of performers, producers, directors and avid Fringe fanatics. For those new to the Fringe experience, it is a 13 day festival founded on the concept of offering 100% unjuried (hence the lottery), 100% uncensored and 100% accessible theater, music, dance, art and madness to all types and ages, where 100% of the box office ticket sales go directly back to the artists. The longest running U.S. Fringe Festival, the misson of Orlando Fringe is to provide an accessible, affordable outlet that draws diverse elements of the community together and inspires creative excellence through the arts. The 20th Annual Orlando International Fringe Theater Festival takes place May 18-30, 2011 in Orlando Loch Haven Park. Nine ticketed venues are located within Orlando Shakes and Orlando Repertory Theatre, along with three Bring Your Own Venues for unique site-specific performances.

Chasmin Hallyburton sat with her laptop open, ready to record the winners of the lottery. Shannon Lacek was in charge of pulling the winning acts from the bucket which was held by Beth Marshall. Beth held up her cell phone and shouted, “Everyone say hello to Brian Feldman who will be tweeting the results from Palo Alto, California!” Everyone shouted, “Hello, Brian.” Once an act was picked from the bucket, Shannon would read the title and then George Wallace would tape the card up on one of the colored poster boards. Each poster board represented a different venue. Some acts drawn from the hat caused massive shouts of delight since performers were in the room. I shouted myself when I heard Dog Powered Robot was going to have its own show! After the lottery was finished, Evan and Christy Miga stopped by to say hello. I expressed how excited I was for them, and then Christy showed me her handbag, and there was Fisher’s tiny furry face. Fisher is the dog behind Dog Powered Robot, and he is a rising star!

I went up to the poster boards and wrote down the shows that had been picked. I couldn’t read my own writing, so check out Orlando Sentinel Theater Critic Matt Palm’s list to start picking the shows you might like to see. So many friends will be performing. Brian Feldman will have an as of yet undisclosed performance in an alternative venue. Jeremy Seghers and Dewey Chaffee, and Voci Dance have shows that remain a mystery. John DiDonna will be directing a dance performance called “Unspoken.” Logan Donahoo shouted for joy when “Trash Cinema 101” was picked. I am so happy for everyone who will be scrambling to push the creative envelope in May 2011. I am busy trying to decide which acts I most want to sketch.

Theater Tailgate #1

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I arrived at the Orlando Shakespeare Theater to find Brian Feldman, Sultana Ali and my wife Terry relaxing in lawn chairs in the parking lot. Sultana’s Nissan Pathfinder had it’s tailgate open exposing her clutter. I noted the clutter, like her Vasque hiking boots and a dinosaur puzzle, since she asked me to neaten things up in the sketch. Brian offered Terry a non-alcoholic drink since she arrived just moments before I did. Brian initiated this tailgate party for “The 39 Steps” which was having its first matinee performance that day. The truck’s stereo was playing a book on tape reading of the John Buchan book the play is based on. I sat in the shade across the way to sketch. Sultana jogged over and put a pirate head eraser on my pencil. Then Matt Simantov arrived with Amanda Chadwick who was hooting and hollering. “Oh Yea! Time for a theater tailgate party! Wooo!”
This tailgate party had been going on since about nine that morning with the actual play starting at two. I arrived for the last hour figuring the largest number of people would be involved right before the show. This is an inspired idea. I’m usually rushing to get to performances on time. In fact, I missed one Fringe performance by being late. It would be so nice to arrive early, socialize and enjoy great conversations with friends at a relaxed tailgate. I hope arts groups around town adopt and expand on the idea, or I hope Brian expands the premise. This idea has a touch of the Fringe about it and its time has come.

The Auction

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The seating was assigned, and I was surprised that Terry and I were seated right behind Harriet Lake. This was prime real estate. Tom Yokum from Lowndes, Drosdick, Kantor & Reed was seated next to us with his wife. Terry grabbed my sketchbook and showed it to his wife. The auctioneer for the evening was a no show and Tom was asked to fill in. Harriet Lake had donated a bracelet studded with 173 diamonds. Tom knew many of the patrons in the room and he used this to his advantage to get people to bid. He shouted out, “Come on now, you spend more than that to fuel up your private jet.” The bidding was fast and furious. Congressional contender Bill Segal raised his hand once but didn’t bid aggressively. Melanie Love is the woman who got to show off this amazing jewelry for the rest of the night. She had been joking with us earlier in the evening about how they would build a tower out of Snickers bars every Halloween. The bars would have to be removed gingerly by the kids to keep the tower from collapsing.
A preview of the play “39 Steps” began shortly after the auction. I fired up my book light and kept working. Watercolors were applied in the darkness. 39 Steps was hilarious. It is a tongue in cheek view of a crime drama akin to Hichcock’s “North by Northwest .” A scene in a crowded train had all the actors moving and swaying to the rythem of the train. Brandon Roberts was particularlY funny in a Chaplinesque way. A chase scene on top of the train was made complete as the actors ruffled their waistcoats with their hands. The scenes were overacted and melodramatic to great humorous effect.
After the preview, a trio performed in the lobby. I contemplated doing one more sketch but I knew time was limited. Betsy Die gave me the photo which had been taken of Terry and myself earlier in the evening. I felt like we were being given the VIP treatment. It is the little things that make an evening truly memorable.

Shakespeare Gala

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As Terry and I entered the Shakespeare Theater, a woman remarked that there would be no overnight camping allowed. I was confused at first but soon realized she was talking about the camping chair that I had slung over my shoulder. Even though I was wearing a suit, I still wasn’t fully able to blend in with Orlando’s upper crust. Terry had on a solid gold gown and was concerned she might be overdressed. Shannon Lacek was the first person to greet us once we entered the lobby. She directed me to the will call booth to get tickets for a preview performance of “The 39 Steps” later in the evening.
Terry approached Devin Dominguez, who was signing people in for auction bid books. I walked around on my own searching for a spot to do my sketch. The Patron’s Room was packed and I decided against sketching in such a tight space. Instead I wandered through the lobby looking at one food station after another. I settled on the Rosen Centre Hotel’s station which had translucent blue plastic cubes which were all illuminated blue. At the meat station there were lamb shanks which I later tried and they were delicious. There was also an assortment of vegetable platters and raw clams and mussels.
The chefs were rushing to get the food prepped and ready. I stood at one of the circular tables that had been set up in the hall and got to work. Terry joined me with her plate of food. I decided I couldn’t eat until I had finished my sketch. Other couples joined us and the executive director of the Rep, Gene Columbus, was having a conversation about how the Rep needed to apply for all available grants in order to grow. He felt the Rep always did the best they could with the resources available.
When I finished my sketch, I finally got a plate of food. I ate quickly before they opened up the theater.

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.

Waiting for Godot

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This was my first time seeing “Waiting for Godot” by Samuel Becket. The play was staged at the Lowndes Shakespeare Center (812 East Rollins Street). I thought this would be an easy production to sketch since I figured the two men would have little to do as they waited. I was mistaken. Action occurred at every point in the production. I found myself erasing again and again. I finally settled on the moment when Vladimir and Estagon consider hanging themselves from a tree. They lack the ambition and tools to pull off this act. I have read that Godot might represent hope or god. but in the end it is the actions of these two men trying to find meaning in a seemingly meaningless existence that gives the play its legs.
The play is decidedly long, which gave me plenty of time to sketch. The two tramps are entertaining with distinct personalities. Estagon hasn’t got a great memory and relies of Vladmir to recreate his history. Vladmir has a positive attitude at most times, spreading his arms wide for an embrace or smiling quizzically as he thinks. It is this faint positive attitude in the face of meaninglessness that offers hope for these men who seem to be living the same exact day over and over.
I have no desire to plumb the depths of the inner meaning of the play. I experienced it superficially enjoying the Laurel and Hardyesque routines and staging. Such antics as swapping hats, exercising to look tree like, playing games, arguing, talking and even contemplating suicide are all diversions to “Hold the terrible silence at bay.”
Hard to say if I liked or disliked the play, like the main characters I am indifferent.

ESTRAGON:
(Struggling to remove his boot, giving up again). Nothing to be done.
VLADIMIR:
I’m beginning to come round to that opinion. All my life I’ve tried to put it from me, saying Vladimir, be reasonable, you haven’t yet tried everything. And I resumed the struggle. (He broods, musing on the struggle. Turning to Estragon.) So there you are again.
ESTRAGON:
Am I?
VLADIMIR:
I’m glad to see you back. I thought you were gone forever.
ESTRAGON:
Me too.

Spring Awakening

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Jerehmy Seghers directed Spring Awakening, a Children’s Tragedy at the Orlando Shakespeare Theater. I sketched a reading of Spring Awakening many months ago in the Broadway Across America offices. Much of the cast had changed since those initial readings. Sarah Villegas who had read the roll of Wendla Bergman, now had a roll in “9 Parts of Desire.” I am sure this conflict was the reason she no longer played this lead roll in Spring Awakening. At this rehearsal she sat right under the large oval shaped theater light. She laughed and applauded the work of her fellow actors.
There is now a musical version of this play but Jeremy went back to the original German translated script for this show. All of the sexual repression and the difficult transition from child to adult have strong relevance today. The play was written back in 1891 but remains very much relevant today. A scene where Melchior rapes Wendla in a hay loft is brutal and unexpected. In another scene Wendla asks a friend to hit her with a stick since her parents never beat her. I am reminded of a Eurythmics song that shots out “Some of them want to use you, some of them want to get used by you.”
Unrequited love and uncertainty about sexual identity causes major tragic events to unfold with authority figures flapping their lips about moral order. Children are expected to discover their sexuality while blind folded.

9 Parts of Desire

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Set in Iraq the play follows the lives of 9 women who struggle to keep hope and love alive in an insane war torn country. Directed by John Di Donna, it would be an understatement to say this play is hard hitting. These women grab your heart and then squeeze it inside the tightly clenched fist. I of course was fascinated by the woman who was an artist and who had enough money to flee the country, but because of traditional ties and a bit of fear of the unknown, she remained behind. The fact that she paints nudes is unexpected and quite dangerous considering the countries harsh moral codes especially towards women.
One particularly moving scene involved all the women on their knees crying out in pain using the only American words they know, “I love you.” I do not think there was a dry eye in the house. The play never lets go filled with hope despite the searingly depressing moral codes and love despite oppression against women. So upsetting, I really don’t think I can keep typing.
There are 2 performances left, Sunday June 27th at 2PM and at 8PM. At the Orlando Shakespeare Theater (812 East Rollins Street).

Fringe Line

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Just standing in line for a Fringe show is an adventure in itself. As usual at leas half of the people were fingering their cell phones sending texts or checking Facebook statuses. Many of the people in line were also actors which can be surmised from their feather boas and loud Hawaiian shirts. Well, I also saw them perform later that evening. One of the young astronautics from “Cat Women on the Moon” dances up and down the line in slow motion as if weightless. He handed out Cat Women on the Moon fliers to anyone who would take one.
Before I was fully finished of course everyone filed into the theater. After I finished up enough washes, I followed them in. This twenty first Century digital age moves a touch too fast for me to be sketching it using methods used back in the Renaissance. The only way to keep up is to ignore the final polished look of things and just let go and get sloppy!

Fringe Merchandise

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The Fringe box office was a constant whirlwind of activity. Before you can even purchase a ticket for a show you must first get a Fringe button. I was running late to one show and had managed to forget my Fringe button at home. My button was tied to the backpack I had used to go camping for Brian Feldman’s Fringe of Nature. So I come running up to this table with just seconds to spare and I ask to buy a button. The kind sales lady informs me I can return the button after the show. I pull out my wallet and I don’t have enough cash. I rush up the ramp to an automated teller machine and withdraw some money. I rush back get the button and then rush to the box office to get the ticket. The ticket sales lady says, “I’m sorry the doors are closed already.” The Fringe is a tightly oiled machine. Show doors close on exactly the specified hour and then no one else can enter. I decided to return the newly purchased button and then I drove home to get my button and Artists Badge. I would see more shows that day, just without the rush and hassle.

The vote signs are so audience members can vote for their audience choice awards.