The Hammered Dog at Fringe

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Freeline Productions, from Orlando, presented Hammered Dog in the Red Venue at Fringe.

Shy, insecure, and emotionally fragile, Sandra (Sarah Lockhard) met the handsome, sexually possessive Ted (Steven Johnson) at a nightclub  Sandra was clearly unsure of herself in the loud club, but when she spotted Ted, she perked up. She hesitated before approaching him and when she finally worked up the nerve, he turned to walk away and her drink splashed on his shirt. Her cursed and stormed off. Later she considered cutting herself in the alley, but he intervened, becoming her knight in shining armor. The title of the play came from Ted describing other men he would make fun of at the club. He would watch them get hammered and then try and hit on women. He would laugh at their failures and then hit on the girls himself since he was such a catch. He called these losers Hammered Dogs. I despise those who denigrate others in an attempt to raise their own self-worth.

This chance interaction quickly led to an intense, volatile relationship. He had to be the most self-absorbed and lazy boyfriend of all time. When she offered him a home cooked meal, he insisted she get him a Publix rotisserie chicken instead. It was his one redeeming quality, since Publix does have some good chicken. He was jealous at every turn, saying she was lucky to have found him. He was one of the most repulsive characters I have seen on stage.

Ted’s horrible behavior mirrored behavior she had experienced from her dad in the past. Her only life line was a gay older co-worker (Todd Allen-Long) who helped her out and listened to her, hoping she could get her life back on track. His affection and support would have driven Ted mad. So each intimate conversation was a ticking time bomb.

Under the strain of her obscure past and Ted’s emotional manipulation, her life took a fateful turn.  Some wounds never heal.

Tickets for Hammered Dog are $12 plus the $10 Fringe Button.

Only one show date remains and that is tonight:

Sunday, May 26, 2019 9:15 PM to 10:15 PM

Callbacks

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Callbacks told the story of Mike Rossi (Danny Baynard) and Terry Stein (Jay T. Becker), two aging actors whose careers lead them into the “small world” of theme park acting. They played the parts of Captain Meriwether Lewis and William Clark, the explorers who forged their way through the Louisiana Territory. Over the course of the years performing the same show over and over, they find the value of friendship and learn that life doesn’t have to end in a theme park dressing room, if they’re lucky.

Based on over 11 years of experience as a theme park actor, writer Thom Mesrobian crafted a knowing and hilarious valentine to actors and anyone who’s every wondered what goes on behind the castle doors.

Catie Walsh (Sarah Lockhard) as Sacagawea unwittingly became a love interest when Terry became infatuated with her. She smartly avoided love in the workplace. Filled with heart, humor and romance, “Callbacks” delivers an inside look at the people who make theme parks some of the happiest places on Earth. Mike Rossi was adamant about always going to auditions but Terry Stein grew complacent with his role in the theme park show. When the show was shut down Mike bounced to a new position quickly while Terry found it hard to find a new role. Mike ended up rising up to a managerial position and when he bumped into Terry he took him under his wing.

I enjoyed the show. It reminded me of working for Disney as an animation artist for 10 years. The studio was started in trailers set up in the theme park parking lot and during the internship I could see cast entering their dressing trailers next door. All day, I could hear guests screaming as they plummeted down in the Tower of Terror.

The show was directed by Mark Hartfield, former show director at Universal Studios.

“Callbacks” featured original incidental music composed by Ben Shepler. Costumes were by Cristina Hartfield and the production Manager was Tonya Mesrobian. Stage manager was Sarah Moening.

Mark Your Calendars! Thought this show isn’t part of the Winter Fringe Mini-Fest, I thought I would remind you that Mini-Fest is coming! It will run from January 10 to 13, 2019. A Winter Mini-Fest button is $3. A pass to 5 shows is $65. A show ticket and button are needed to get into any show. This 5 Pass includes admission to 5 shows during the 2019 Winter
Mini-Fest (WMF).  This is a $10 savings over the regular price of 5 WMF
tickets.

Unused allocations are non-transferable and non-refundable.  This pass is valid for the 2019 WMF, January 10th – January 13th. This pre-paid 5 pass does not guarantee entrance to a show.  You will
need to redeem your allocations through the box office to receive a
ticket to the specific performance you have selected. Quantities are limited, get yours today!

Autobiography

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June’s Third Thursday at the Orlando Museum of Art was organized by Anna McCambridge-Thomas. The theme for all the art that evening was “Collaboration.” When I arrived, I quickly took a look at all the art on display but Genevieve Bernard of Voci Dance had informed me of her unique collaboration. The dance piece her dance company, Voci Dance, was going to perform involved a collaboration with Asatta Wilson of Vixen Fitness. Asatta is a rather talented and fit pole dancer. During previous rehearsals, Genevieve explained to Asatta what dance moves she wanted. Though the dance terminology was different the art forms and moves were similar. As Asatta explained, she does the same moves just with some sensual flair to please the costumers.

I sat in and sketched the rehearsal for the dance titled, “Autobiography“, before patrons got to the museum. A Platinum Stages pole stood at stage right. Dancers approached the pole and interacted with it as a symbolic obstacle. Sarah Lockhard delivered a monologue in which she kept falling into a hole repeatedly. It wasn’t her fault even as she kept to the path and fell again. After repeated tries she finally realized she should walk another route.

Towards the end of the dance performance Asatta took to the pole doing a gymnastic and graceful routine that defied gravity. I got a second chance to work on the sketch as the theater filled with patrons. Having seen the rehearsal, I knew what dancers I wanted to complete the composition. From slow motion walks to graceful twirls, one gesture flowed through the dance company. The pole was no longer an obstacle but something to be conquered.

Corridor Project at Plaza Live

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Patrick Greene helped facilitate a parking lot performance before the Deerhoof concert at Plaza Live. It was the second Corridor Project production.  When I got there it was just starting to get dark. Patrick had a megaphone and there was some negotiating with the Plaza Live staff to clear an area in the parking lot for a staging place. Having no idea what was to come, I decided to step back and sketch a long shot of the parking lot scene to see what developed. Hannah Miller parked a pickup truck and pulled out a huge tree trunk set piece. A car was asked to park at the end of the row to avoid any other cars from driving into the staging area. I saw brown sheets being unfurled on the pavement and on the tailgates of parked cars. The parking lane was being converted into a forest glen.

An Ibex puppetry kite hinted that the performance was about to start, so I finished the sketch and moved closer. Voci Dance performed with the help of Tiny Waves and The Shine Shed Collective. Performers were all dressed in exotic woodland creature costumes. The dancers moved nimbly between the tree trunks, performing to live music. I sketched a strange bird-like creature with drums before he marched off into the woods. I wasn’t sure if Sarah Lockhard was a fox, beaver or a hound but all the dancers moved with grace. Hip bones became headdress eyes and antlers. It was all very primal. When the performance ended, sheets and set pieces quickly were gathered up and the magic disappeared.

The Nativity

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I went to the final dress rehearsal for the Nativity at
Pinocchio’s Marionette Theater in the Altamonte Mall. It was a few days before
Christmas and the Mall was overrun with shoppers. I had to drive up and down
about ten parking isles before I finally found a spot in the parking garage
next to the movie theater. There was panic and road rage among the cars
searching for spots. It was a freezing cold night and I added my windbreaker to
my arsenal of coats. The security gate was closed when I found Pinocchio’s. I
went to the backdoor entrance and started firing of texts to people I hoped
were inside. With no return texts, I decided I might have to sketch the theater
from the children’s play area. I set up my stool and was about to start
sketching when I saw Sean Keohane open the gate to get in the theater. I
scrambled, gathering my supplies and I ran to the theater just as he started
lowering the gate. He saw me and reversed the motor.

Puppeteers were given dark olive green long sleeved shirts
which would help blend them into the background as they worked the rod puppets
designed by Jane Henson. Sarah Lockhard who plays the Virgin Mary wasn’t at the
beginning of the rehearsal, so the smaller puppets used in the actual nativity
scene rehearsed several run-throughs of that scene. Sean boomed out his lines
as the voice of God from the back of the theater. God speaks in Latin, it turns
out. Herod hatched his evil plot to kill the new born King using the three
Kings as his henchmen. Joseph was shocked when he discovered Mary was pregnant
and he understandably doubts her story of divine birth. He still vows to
protect his young bride.

My favorite part of the play is when a banner is waved
majestically over the manger. The puppeteer looks up at the banner making it
wave in slow motion as if in a breeze using two rods. It is the puppeteer’s
concentration and complete absorption in the process that I admire, and this
was one moment where the puppeteer was in plain sight. Three musicians
performed live, playing medieval music. The rest of the puppeteers remained
hidden behind the stage front and faux rock work. They  had knee pads on, yet several times I heard
loud thumps back stage. Edna Bland iced her leg from one of those bumps
during a break. There were two weeks of these back breaking rehearsals for two
performances. Art isn’t easy.

The Nativity Rehearsal

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I went to the Henson’s Pineloch warehouse on December 12th to sketch a rehearsal of The Nativity. Rehearsals were held most weeknights for two weeks from about 7:30 to 10pm. All of those rehearsals were for two performances on December 22 at Pinocchio’s Marionette Theater in the Altimonte Mall. The oldest story in Christian history was made new in this retelling with live music, and the gorgeous puppets from IBEX Puppetry and the Jim Henson Company. This puppet production was spearheaded by Jane Henson, the wife of Jim Henson of Muppet’s fame.  Jane helped Jim in the early days of television production but then abandoned puppetry to raise her family. He youngest daughter, Heather Henson helped her bring this production to life.

The warehouse was cavernous, filled with boxes and bins full of foam, fabric and assorted puppet parts.  There were woodworking benches and large kites suspended from the ceiling. If you were to imagine Santa’s toy factory, this would fit the bill. I decided to sit behind the table where the performing puppets were stored. Gabriel with his gossamer wings dominated the table. A dark sinister and conniving Herod stood beside him, visible through his transparent wings. Mary, Joseph and the three kings also waited to begin their performances. A train rumbled by adding an industrial edge to this period piece.

From this angle, I could see the puppeteers who had to crouch down behind the stage setting to stay out of the future audience’s view. Sean Keohane, the director corralled the cast and explained how important the telling of the story would be. It was something parents could share with there children. Sarah Lockhard worked with the Virgin Mary rod puppet. Her face expressed every emotion as she moved the puppet. It was fascinating watching actors become lost in the subtle performers.  The word, marionette, 
means “tiny Mary” and  was derived from the puppets used in medieval mystery
and miracle plays.

Creative City Project

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Sarah Lockhard invited me to participate in a Creative City Project she was organizing in Lake Eola Park with Brie Hinman. The Creative City Project was birthed out of the belief that artists
can change a city for the better by making it a more beautiful,
meaningful and interesting place to live.

The original plan was for me to do a digital sketch projected live while Brie danced to a Tom Waits poem. Creative project have a way of morphing and we didn’t have any opportunity to rehearse, so I decided to simply sketch the dance event like any other event. Sarah told me the morning before that Brie would be dancing on the grassy peninsula beside the Japanese pagoda. I arrived a half an your early to start blocking in the composition.

Ducks, geese and swans populated the peninsula and the was bird droppings everywhere. I don’t think they had planned for this so I fired off a text to Sarah that simply said, “Bird Poop!” I found a spot near a tree stump and started sketching. I planned to put the dancers in when they arrived. The tree stump ironically had a brass plaque that said thee tree was planted in dedication to the patients that suffered from Cancer at Florida Hospital. That scarred stump was an odd form of education.

I finished the sketch and started populating it with geese. The dancers were late. I saw a girl on the dock next to the pagoda and I figured she was the dancer. The sky’s were overcast and it rained lightly several times but not hard enough to stop me. My sketch was finished when Sarah, Brie and Genevieve Bernard showed up. Genevieve set up a picnic blanket to relax and watch the dance. A small boom box was used to play the sound track from Amelie. Brie was dressed in a light flowing blue skirt and she flowed with the music. It began to rain and Sarah joined the dance with her umbrella. I quickly sketched them into the scene. The rain grew heavier but Brie continued to dance. It was a magical moment.  Soon my umbrella started leaking sending large drops onto the watercolor. II had to pack up and go in order to save the sketchbooks from getting permanently damaged. as I left, Brie and Sarah were still spinning in the torrential rain. Some creative endevours last but a moment.

City Beautiful Church

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I went downtown to the Lake Eola band shell to meet Sarah Lockhard and a Voci dancer named Brie to discuss possibly doing a live projected sketch during a dance performance. Cory Violence would be reading a Tom Waits poem called Watch Her Disappear. Apparently every day in October there will be public performances like this all around town. When I got close, I noticed musicians playing in the parking lot behind the Polish Catholic Church. Meals were being distributed to the homeless and the music suggested that they surrender to Jesus.

When I got to the band shell, I sat in the back row and waited for Sarah. A band was setting up on stage with a large screen behind them. The screen and projector system would be perfect for the performance piece Sarah was considering.  One of the tech guys walked up to me and introduced himself. He was a former student of mine who was volunteering to help out with the City Beautiful Church concert. Since Sarah was a no show, I decided to sketch the band as they did their sound check.

Cole Nesmith explained that this church would be moving into a new bricks and mortar establishment just south of Lake Eola in a couple of weeks. In the mean time they were worshiping in the park. The band was quite good, playing lively and uplifting Christian rock. I’d never heard the songs before. Some of the lyrics were, “There is an army rising up. Break every chain. I may be down but I will rise. It may be dark but God is light.” Cole gave a sermon about the Prodigal Son, who took his fathers inheritance, squandered it and then returned home begging for food and forgiveness. The point of course was that god is all forgiving and full of love. Clouds of gnats swarmed around my head. I swatted they away as I drew. I finally had to leave in the middle of a song to get away from the bugs. A couple ran after me as I walked around the lake. They wanted to see the finished sketch. Their son was at the key boards.

GOAT Actors Studio Annex

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Dennis Neal was conducting his second three week intensive actors workshop at the GOAT Actors Studio Annex, (650 S. Northlake Blvd., Suite 430, Altmonte Springs). The Greater Orlando Actors Theatre class was offered two nights a week with four hour sessions. The invitation stressed that each person would be working on a play of their choosing, as well as
other work. This class was for those WILLING TO WORK and SERIOUS ABOUT
THEIR CRAFT!

About a dozen actors sat at tables edging the corporate training room. The first question Dennis would ask each student was, “Why are you taking this course.” The answers helped define where each artist was on their personal journey. There were far more women than men who wanted to learn. Each actor was asked to bring a monologue they could read. A young woman named Denise was the first at bat. Her mom sat beside her. Denise got up and sat in a lone chair in the center of the room facing Dennis. He stressed that the class wasn’t about judgement or winning his acceptance. Jokingly he warned Denise, “I will  break you down.”  The room grew quiet. There was tension in the air.

Denise confided that she was nervous. She had written her own monologue in which she confronted a boy making  unwanted advances. “You think I’m that kind of girl?” she said. Dennis interrupted her and asked her to delete all the inflections and flourishes. He wanted her to just say the lines like she was speaking. He would then use hand signals to indicate when he wanted her to slow down or speed up a line. She was flustered, thrown off balance. Her eyes welled up. She asked to be excused and ran to the bathroom. Dennis asked another actress to go in and see how she was doing.

Each actor got up in turn to work on their monologue. Alecia traveled two hours to get to the class. Dennis shouted out, “Lets take it to the wall!” He said, “Every scene goes back to love and fear.” The most important thing an actor must keep in mind is, “What do I want.” Even more important, “Nobody is perfect.” Sarah Lockhard had already memorized her monologue. She played the part of a manic receptionist talking at a break neck pace. She was quirky, quick witted and hilarious. When she was done, Dennis asked, “Do you drink coffee?” “Heck YEAH!” she shot back. Everyone laughed.

Dennis asked one actress to just speak to another actress about maturity. Everything she said came from the heart. There was no script. Authenticity flowed. Dennis used the exchange to point out that honesty is the best tool in any actor’s tool box. The young actress, Denise, had returned and she was the last to again take the center stage chair. Dennis said, “I may bark, but I don’t bite.” This time she performed admirably, working hard to accept advice and dig deep inside to express herself with absolute honesty. By the next class, each actor was expected to be “off book.” Then, the real work would begin.

Cannibal! The Musical

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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.