As of our October meeting, award-winning playwright and longtime Drama Lab member Sue Bachman has taken over as director of our group. I've thoroughly enjoyed my involvement over the last five years, but it's time for me to pursue other opportunities.
I'm not going away. I'll still pop in to our monthly meetings from time to time, but I'm going to focus my energies on launching my new project, Screaming Meatball Theatre Company. Each month or two, this group will present a public staged reading of my latest play at Library 21c, and I hope to involve as many of our Drama Lab actors as possible.
From this point on, Sue will be your contact for the Drama Lab. She's the one who'll be sending out a reminder before each meeting. She's also the one you should contact if you want to reserve a play reading slot or if you just want to let her know that you will or will not be attending a meeting.
Note that for the near future, meetings will continue to meet on the second Monday of the month at 7pm, but we've moved our meetings to Studio K (Kathy Paradise's private acting studio), 3307 N. Institute St. When you get there, don't ring the doorbell (unless you really feel a need). Just go through the wooden gate next to the garage and enter the studio from the backyard.
I want to thank all of you for your support over the last five years, and I look forward to seeing our group continue to thrive and grow in the future!
Todd
Tuesday, October 11, 2016
Tuesday, September 13, 2016
Love and death
There was a fall-like nip in the air as ten of us gathered for last night's meeting. That actually wasn't a bad turnout considering that many of our regulars were traveling or in tech for Our Shorts Are Showing. We were fortunate in snagging one new writer, the talented Hannah Rockey, who has been involved with many theatre companies in town, and one new actor, Brian Mann of THEATREdART. We had four plays on the slate and managed to get through them all in just under two hours.
We opened with Chuck Cabell's short play DATE-2-MATE. This is a very funny comedy about a married woman who thinks she found a posting from her husband on a photo-less dating site. She asks her friend for advice and the friend motivates her to win back her husband by showing him more attention. Everyone thought the piece flowed very well, and the three quick reversals at the end were a big hit. Some suggested that the play be shortened a bit, while others thought that it might be better if the friend acted out of a hidden agenda at the beginning.
After that we read the first two-thirds of Hannah's short drama 1/16 of an Inch, which she's writing for her Master's Degree. It's a very theatrical piece, with monologues, mimes and projections all being used to explore the many different facets of suicide (the title refers to the height off the floor that one victim needed to raise herself to stop from being hanged). This one too seemed a little long, and there was some debate whether the use of the mime was effective or confusing. But everyone agreed that the piece was extremely powerful.
Next up was the beginning of my full-length youth comedy, The Enchanted Bookshop. Here we're introduced to Margie, a mousy book store owner whose books come alive at night. People thought it was funny and well-paced and that the exposition did a good job of explaining the magic without being too wordy. There was some discussion whether Margie should use more visceral descriptors as she waxed poetic about her love of books.
We finished up with a rewrite of the end of Tim Phillip's romantic drama The Many Men of Tara. In it, Tara confronts Chip about his seeming lack of interest, and Chip finally confesses that he does like Tara but that he thought she wouldn't be interested in him because he's a mechanic and an alcoholic. People liked the many funny lines. It was noted that the ending was not dynamic but featured a nice fadeout instead, which was fine. Some people did say that it might be better if Chip were less direct since people tend to speak obliquely about themselves.
No update on the intergenerational theatre workshop. Last I heard, we're still on for October, although I'm waiting to find out the room and the specific dates.
We opened with Chuck Cabell's short play DATE-2-MATE. This is a very funny comedy about a married woman who thinks she found a posting from her husband on a photo-less dating site. She asks her friend for advice and the friend motivates her to win back her husband by showing him more attention. Everyone thought the piece flowed very well, and the three quick reversals at the end were a big hit. Some suggested that the play be shortened a bit, while others thought that it might be better if the friend acted out of a hidden agenda at the beginning.
After that we read the first two-thirds of Hannah's short drama 1/16 of an Inch, which she's writing for her Master's Degree. It's a very theatrical piece, with monologues, mimes and projections all being used to explore the many different facets of suicide (the title refers to the height off the floor that one victim needed to raise herself to stop from being hanged). This one too seemed a little long, and there was some debate whether the use of the mime was effective or confusing. But everyone agreed that the piece was extremely powerful.
Next up was the beginning of my full-length youth comedy, The Enchanted Bookshop. Here we're introduced to Margie, a mousy book store owner whose books come alive at night. People thought it was funny and well-paced and that the exposition did a good job of explaining the magic without being too wordy. There was some discussion whether Margie should use more visceral descriptors as she waxed poetic about her love of books.
We finished up with a rewrite of the end of Tim Phillip's romantic drama The Many Men of Tara. In it, Tara confronts Chip about his seeming lack of interest, and Chip finally confesses that he does like Tara but that he thought she wouldn't be interested in him because he's a mechanic and an alcoholic. People liked the many funny lines. It was noted that the ending was not dynamic but featured a nice fadeout instead, which was fine. Some people did say that it might be better if Chip were less direct since people tend to speak obliquely about themselves.
No update on the intergenerational theatre workshop. Last I heard, we're still on for October, although I'm waiting to find out the room and the specific dates.
Tuesday, August 9, 2016
Back to school
As local students head back to school this month, our members have too, in a way, with last night's meeting featuring a couple of older scripts that were recently finished or polished anew. We read four plays in all.
Attendance was decent, with 12 people showing up. However, one member was recovering from throat surgery and another was there just to listen, leaving only 10 people to perform (9 if you exclude the writer, who usually listens). This made it tricky when we got to my play, which had a whopping 19 parts. But we made it work.
We opened with the latest entry in Sue Bachman's series of popular Stella & Mavis plays. This one was Stella & Mavis at the Casino, and it had the same rapid-fire wit and hilarious misunderstandings as the previous entries. Everyone agreed that the dialogue flowed very naturally. Much of the discussion centered on additional gags Sue could add, including a risque mishearing of "Blow on my nickels."
After that, we read a couple of scenes from Grant Swenson's adaptation of The Wizard of Oz, titled And Your Little Dog Too... The play places Toto at the center of action, portraying him as a kind of hip jazz musician from the 1950's. In the first scene, a rewrite, Toto interacts with the three farm animals who later become Brain, Heart and Courage. The audience liked the characters but felt that the mouse did not seem dumb enough here (she's the one who transforms into Brain).
In the second scene, taken from Act Two, Heart gives an inspiring speech to motivate the townsfolk to help them fight the Wicked Witch. The audience agreed that the speech was very inspiring but felt that it should be simplified to reflect the more straightfoward language that Heart would use.
Next up was Jeff Schmoyer's reality show parody, And the Winner Is... It was a play that Jeff had been working on for a while and he was finally glad to be able to bring to the group. In it, a husband anxiously waits for a reality show to announce its season winner, only to have the announcement interrupted again and again by wacky commercials. Jeff was worried that the play didn't have enough of a plot, but the audience assured him that it didn't need one (as I've always found, humor covers over a multitude of sins). The audience did suggest, however, that Jeff up the tension by making the wife more sneaky in her attempts to change the channel.
Next up was the finale of my fairy tale comedy Wicked Is As Wicked Does. Here, the Wickeds make one last attempt to stop Prince Intolerable's wedding to Snow White by poisoning the drinks they toast with. One person liked its brisk pace, but it soon became obvious that there were a couple of flaws with the piece. First, it felt satisfying for the ending to focus on Magic Mirror when he wasn't that important to the plot. Second, and this is a biggie, the other princes basically got away with murder, suffering no punishment even though they tried to help Prince Intolerable feed the dwarfs to the dragon. These will be fixed.
After the meeting, everyone stuck around for about 20 minutes to discuss the latest on the Intergenerational Theatre Workshop. Joye Cook-Levy will manage the workshop for TheatreWorks, while Mitchell High School drama teacher Holly Haverkorn will supply the students.
All meetings will take place on the UCCS campus, not Mitchell as originally reported. We will meet one night a week for six weeks starting in early October, concluding with a staged reading or script-in-hand performance at the Kraemer Family Library in late November or early December. When polled, the Drama Lab folks said that Tuesday, Wednesday or Thursday would work best.
Joye, Holly and I agreed on a theme of "violence in our community" as we felt that it was extremely topical and should allow for some meaningful exchanges between the generations.
Joye had proposed that the writers work together on the plays, with the actors not getting involved until much later in the process. However, the Drama Lab folks felt strongly that the actors should be involved from the beginning and that the writers should work with them rather than the other writers. I promised I would take this back to Joye and would arrange a meeting for all involved, if needed. (Update: Joye responded to my email after the meeting by agreeing to run the workshop the way the Drama Lab folks prefer.)
We got out of the meeting around 8:45pm. That was a lot of ground to cover in an hour and 45 minutes, but we did it.
I hope to see everyone at our next meeting on Monday, September 12--which just happens to be our 5th anniversary!
And they said it would never last.
Attendance was decent, with 12 people showing up. However, one member was recovering from throat surgery and another was there just to listen, leaving only 10 people to perform (9 if you exclude the writer, who usually listens). This made it tricky when we got to my play, which had a whopping 19 parts. But we made it work.
We opened with the latest entry in Sue Bachman's series of popular Stella & Mavis plays. This one was Stella & Mavis at the Casino, and it had the same rapid-fire wit and hilarious misunderstandings as the previous entries. Everyone agreed that the dialogue flowed very naturally. Much of the discussion centered on additional gags Sue could add, including a risque mishearing of "Blow on my nickels."
After that, we read a couple of scenes from Grant Swenson's adaptation of The Wizard of Oz, titled And Your Little Dog Too... The play places Toto at the center of action, portraying him as a kind of hip jazz musician from the 1950's. In the first scene, a rewrite, Toto interacts with the three farm animals who later become Brain, Heart and Courage. The audience liked the characters but felt that the mouse did not seem dumb enough here (she's the one who transforms into Brain).
In the second scene, taken from Act Two, Heart gives an inspiring speech to motivate the townsfolk to help them fight the Wicked Witch. The audience agreed that the speech was very inspiring but felt that it should be simplified to reflect the more straightfoward language that Heart would use.
Next up was Jeff Schmoyer's reality show parody, And the Winner Is... It was a play that Jeff had been working on for a while and he was finally glad to be able to bring to the group. In it, a husband anxiously waits for a reality show to announce its season winner, only to have the announcement interrupted again and again by wacky commercials. Jeff was worried that the play didn't have enough of a plot, but the audience assured him that it didn't need one (as I've always found, humor covers over a multitude of sins). The audience did suggest, however, that Jeff up the tension by making the wife more sneaky in her attempts to change the channel.
Next up was the finale of my fairy tale comedy Wicked Is As Wicked Does. Here, the Wickeds make one last attempt to stop Prince Intolerable's wedding to Snow White by poisoning the drinks they toast with. One person liked its brisk pace, but it soon became obvious that there were a couple of flaws with the piece. First, it felt satisfying for the ending to focus on Magic Mirror when he wasn't that important to the plot. Second, and this is a biggie, the other princes basically got away with murder, suffering no punishment even though they tried to help Prince Intolerable feed the dwarfs to the dragon. These will be fixed.
After the meeting, everyone stuck around for about 20 minutes to discuss the latest on the Intergenerational Theatre Workshop. Joye Cook-Levy will manage the workshop for TheatreWorks, while Mitchell High School drama teacher Holly Haverkorn will supply the students.
All meetings will take place on the UCCS campus, not Mitchell as originally reported. We will meet one night a week for six weeks starting in early October, concluding with a staged reading or script-in-hand performance at the Kraemer Family Library in late November or early December. When polled, the Drama Lab folks said that Tuesday, Wednesday or Thursday would work best.
Joye, Holly and I agreed on a theme of "violence in our community" as we felt that it was extremely topical and should allow for some meaningful exchanges between the generations.
We got out of the meeting around 8:45pm. That was a lot of ground to cover in an hour and 45 minutes, but we did it.
I hope to see everyone at our next meeting on Monday, September 12--which just happens to be our 5th anniversary!
And they said it would never last.
Tuesday, July 12, 2016
Double trouble
As I said in my newsletter this month, the Drama Lab doesn't go on vacation in the summer. But some of our members do! Last night, we had just two scripts, although we had a respectable turnout with 12 people attending. The good part? We got out by 8:15pm.
We opened with two more scenes from Tim Phillips' romance drama, The Many Men of Tara. Here one of the men told Tara he wanted a committed relationship with her, forcing Tara to lay out her own desire to stay free and unfettered. The audience agreed that all of the characters were very likable. There was some discussion about the best use of Amadeus, a dog which made an appearance in these scenes, but everyone liked how he helped reveal the characters' personalities.
After that, we read a couple of scenes from my full-length comedy Wicked Is As Wicked Does., in which the four "wicked" characters from the fairy tales team up to block Snow White's wedding to Prince Intolerable. One scene was at Little Red's wedding planner office and the other was outside the lair of the dragon Grimstad. People thought the play was a lot of fun. I was concerned that one of the spells would seem contrived, but the consensus was that with magic, you can get away with a lot.
We meet again on Monday, August 8, hopefully with more writers and more scripts! See you all then!
We opened with two more scenes from Tim Phillips' romance drama, The Many Men of Tara. Here one of the men told Tara he wanted a committed relationship with her, forcing Tara to lay out her own desire to stay free and unfettered. The audience agreed that all of the characters were very likable. There was some discussion about the best use of Amadeus, a dog which made an appearance in these scenes, but everyone liked how he helped reveal the characters' personalities.
After that, we read a couple of scenes from my full-length comedy Wicked Is As Wicked Does., in which the four "wicked" characters from the fairy tales team up to block Snow White's wedding to Prince Intolerable. One scene was at Little Red's wedding planner office and the other was outside the lair of the dragon Grimstad. People thought the play was a lot of fun. I was concerned that one of the spells would seem contrived, but the consensus was that with magic, you can get away with a lot.
We meet again on Monday, August 8, hopefully with more writers and more scripts! See you all then!
Tuesday, June 14, 2016
Meat and potatoes
Although we had a smallish meeting last night, with just 10 people attending, we had some of our meatiest discussions of the year. And that's because we had some impressively meaty plays. We read five plays in all.
We opened with the beginning of Tim Phillips' relationship drama, The Many Men of Tara. In it, a woman is pursued by an actor, a professor and a doctor, although in this early scene, much of the interaction is with a dog named Amadeus. The audience agreed that the play was fun and that the dialogue meshed and flowed very well. One audience member suggested that Tim tweak the actor's monologue at the start of the play to make it foreshadow more.
Next up was the first half of Chuck Cabell's one-act philosophical drama, Restless. Here we have three men who died in different centuries trying to figure out whether they're in heaven or hell. The dialogue was fascinating and made some interesting points made about how heaven and hell might both resemble large bureaucracies. However, some commenters warned Chuck about getting too preachy.
We followed that with the end of Sue Bachman's relationship drama, Taking It All Back. It's based on a real-life couple she knew who broke up and then reconciled after the husband cheated on the wife. While one scene didn't seem to go anywhere, people thought that the tenuous agreement the couple settles on at the end was quite powerful and beautiful in its honesty. Special kudos to Buck Buchanan and Mary Sprunger-Froese, who squeezed every ounce of emotion out of the final scene.
After that, we read some more of Grant Swenson's science fiction comedy The Earth Experience. This play takes place in a future century when the Earth is turned into a planet-wide amusement park. In these scenes, the scientists tasked with overseeing the planet discover that their boss added code to launch an extinction event, only to conclude that the Earth is the greatest incubator ever, nurturing life no matter what's thrown at it. Everyone felt that the characters were well-drawn and that the story moved along at a nice clip.
We finished up with the beginning of my dog-themed mystery very tentatively titled Sherlock Bones. Here we meet the three doggie detectives: a lazy bloodhound, a by-the-book German Shepherd and a hyperactive terrier who's afraid of everything. The audience thought the set up was well-done, giving us a strong sense of the detective's personalities while providing plenty of laughs. Much of the discussion centered on the character of the dog catcher and what role he should play in the story.
The meeting ended around 9:10, and the writers all went home with lots of ideas for improving their works.
I hope to see you all at out next meeting on Monday, July 11!
We opened with the beginning of Tim Phillips' relationship drama, The Many Men of Tara. In it, a woman is pursued by an actor, a professor and a doctor, although in this early scene, much of the interaction is with a dog named Amadeus. The audience agreed that the play was fun and that the dialogue meshed and flowed very well. One audience member suggested that Tim tweak the actor's monologue at the start of the play to make it foreshadow more.
Next up was the first half of Chuck Cabell's one-act philosophical drama, Restless. Here we have three men who died in different centuries trying to figure out whether they're in heaven or hell. The dialogue was fascinating and made some interesting points made about how heaven and hell might both resemble large bureaucracies. However, some commenters warned Chuck about getting too preachy.
We followed that with the end of Sue Bachman's relationship drama, Taking It All Back. It's based on a real-life couple she knew who broke up and then reconciled after the husband cheated on the wife. While one scene didn't seem to go anywhere, people thought that the tenuous agreement the couple settles on at the end was quite powerful and beautiful in its honesty. Special kudos to Buck Buchanan and Mary Sprunger-Froese, who squeezed every ounce of emotion out of the final scene.
After that, we read some more of Grant Swenson's science fiction comedy The Earth Experience. This play takes place in a future century when the Earth is turned into a planet-wide amusement park. In these scenes, the scientists tasked with overseeing the planet discover that their boss added code to launch an extinction event, only to conclude that the Earth is the greatest incubator ever, nurturing life no matter what's thrown at it. Everyone felt that the characters were well-drawn and that the story moved along at a nice clip.
We finished up with the beginning of my dog-themed mystery very tentatively titled Sherlock Bones. Here we meet the three doggie detectives: a lazy bloodhound, a by-the-book German Shepherd and a hyperactive terrier who's afraid of everything. The audience thought the set up was well-done, giving us a strong sense of the detective's personalities while providing plenty of laughs. Much of the discussion centered on the character of the dog catcher and what role he should play in the story.
The meeting ended around 9:10, and the writers all went home with lots of ideas for improving their works.
I hope to see you all at out next meeting on Monday, July 11!
Wednesday, May 11, 2016
New opportunity
It was a busy night last night. With fourteen people attending, we got through seven plays (or parts thereof), the most we've had in a while, and we spent some time at the end of the meeting discussing a proposed new theatre project with TheatreWorks.
We opened with the end of Sienna Swenson's action comedy Secret Island. The adventure was wrapped up neatly as the kids quickly solved the remaining math problems as well as the puzzle of the rocks themselves. Everyone thought the play was very good.
Next up was a rewrite of Grant Swenson's sci fi comedy The Earth Experience, which was first read at Springs Ensemble Theatre's New Short Works Festival last year. In it, Earth is turned into a theme park overseen by hard-nosed atmospheric engineer Eve, who wants to keep it pristine and peaceful, and the fun-loving temp Adam, who wants to make it more exciting. One person thought it was a little unclear who the protagonist was, but several people said they couldn't wait to see what happens next.
We then read Tim Phillip' drama Tam Lin, based on the legend of a Scottish Casanova who is enslaved by the Queen of the Fairies and enlists a young woman to break the Queen's spell. Tim added a dash of A Midsummer Night's Dream, naming the Queen after that play's Titania and tossing in Robin Goodfellow as well. People felt that the Queen's dialog was a little stilted and that Tam Lin could have been more conflicted with regards to his beautiful captor but agreed that the play was a lot of fun.
After that we read a scene from my small town comedy Trouble in Paradise Junction that we somehow missed the first time we went through the play. Here the townsfolk gather to watch the first episode of the reality show being filmed there. People liked how the dialogue from the previous scene was manipulated by the host to drive a wedge between the townsfolk, but one commenter felt that the tension would be greater if Martha--who's humiliated for being a bad baker--was actually a good one.
Next we read two short comedies reprising the characters of Stella and Mavis, two addled old ladies who first appeared in a skit at the Six Women Play Festival. It was a real treat as those ladies were first played by Sue Bachman and Sallie Walker and they were again played to perfect comedic timing by Sue and Sallie here. Sallie wrote Stella and Mavis at the Doctor and Sue wrote Stella and Mavis at the Polls. They both did a great job of capturing the kooky banter of the original.
We wrapped up with the beginning of another Sue Bachman play, this one a rewrite of her relationship drama Taking It All Back. It's about an older lawyer who dumps his loving wife in order to marry his mistress, only to be sent reeling when the mistress rejects his marriage proposal. People thought the emotional tension was very intense and were surprised that although the man treats his wife cruelly, by the time his proposal is rejected, they found themselves feeling sorry for him.
After the meeting, we stuck around for about 20 minutes to discuss the new opportunity that TheatreWorks Education and Outreach Coordinator Joye-Cook-Levy and I came up with during our meeting two weeks ago.
I started off by explaining that the Drama Lab's longtime champion Drew Martorella is under pressure to make sure that all groups meeting on UCCS property is aligned in some way with the university's mission.
What Joye and I are proposing is an intergenational theatre project between: 1) Drama Lab writers and younger actors, and 2) Drama Lab Actors and younger writers. The younger actors and writers would be supplied through Joye's school connections and would consist of two groups: high school students and college students. Each writer would be assigned a group of actors and would meet with them on a regular basis for several weeks or months in order to develop and rehearse a play to be read as part of an evening of staged readings at the end of the semester. The high school/Drama Lab plays would be one reading (say in fall) and the college/Drama Lab plays would be another reading (say in spring). All plays would be 10-20 minutes long.
My original thought was that all of the actors that are assigned to one writer would be a similar age (either young or old), but our group last night agreed that each should be mixed as that will be a much more meaningful experience for all involved. Also, one writer said she would prefer to work on an existing play for this project rather than a new one. I'll take both of these suggestions back to Joye.
It should be noted that this project is completely voluntary and is in addition to, not instead of, our monthly play readings. You can opt out of the project and still participate in the readings as much as you want.
The next step is for Joye and I to hammer out some of the details needed to launch this project at the start of the coming school year. I'm excited about the opportunity and I hope everyone else is (or will be!) too.
See you all next month!
We opened with the end of Sienna Swenson's action comedy Secret Island. The adventure was wrapped up neatly as the kids quickly solved the remaining math problems as well as the puzzle of the rocks themselves. Everyone thought the play was very good.
Next up was a rewrite of Grant Swenson's sci fi comedy The Earth Experience, which was first read at Springs Ensemble Theatre's New Short Works Festival last year. In it, Earth is turned into a theme park overseen by hard-nosed atmospheric engineer Eve, who wants to keep it pristine and peaceful, and the fun-loving temp Adam, who wants to make it more exciting. One person thought it was a little unclear who the protagonist was, but several people said they couldn't wait to see what happens next.
We then read Tim Phillip' drama Tam Lin, based on the legend of a Scottish Casanova who is enslaved by the Queen of the Fairies and enlists a young woman to break the Queen's spell. Tim added a dash of A Midsummer Night's Dream, naming the Queen after that play's Titania and tossing in Robin Goodfellow as well. People felt that the Queen's dialog was a little stilted and that Tam Lin could have been more conflicted with regards to his beautiful captor but agreed that the play was a lot of fun.
After that we read a scene from my small town comedy Trouble in Paradise Junction that we somehow missed the first time we went through the play. Here the townsfolk gather to watch the first episode of the reality show being filmed there. People liked how the dialogue from the previous scene was manipulated by the host to drive a wedge between the townsfolk, but one commenter felt that the tension would be greater if Martha--who's humiliated for being a bad baker--was actually a good one.
Next we read two short comedies reprising the characters of Stella and Mavis, two addled old ladies who first appeared in a skit at the Six Women Play Festival. It was a real treat as those ladies were first played by Sue Bachman and Sallie Walker and they were again played to perfect comedic timing by Sue and Sallie here. Sallie wrote Stella and Mavis at the Doctor and Sue wrote Stella and Mavis at the Polls. They both did a great job of capturing the kooky banter of the original.
We wrapped up with the beginning of another Sue Bachman play, this one a rewrite of her relationship drama Taking It All Back. It's about an older lawyer who dumps his loving wife in order to marry his mistress, only to be sent reeling when the mistress rejects his marriage proposal. People thought the emotional tension was very intense and were surprised that although the man treats his wife cruelly, by the time his proposal is rejected, they found themselves feeling sorry for him.
After the meeting, we stuck around for about 20 minutes to discuss the new opportunity that TheatreWorks Education and Outreach Coordinator Joye-Cook-Levy and I came up with during our meeting two weeks ago.
I started off by explaining that the Drama Lab's longtime champion Drew Martorella is under pressure to make sure that all groups meeting on UCCS property is aligned in some way with the university's mission.
What Joye and I are proposing is an intergenational theatre project between: 1) Drama Lab writers and younger actors, and 2) Drama Lab Actors and younger writers. The younger actors and writers would be supplied through Joye's school connections and would consist of two groups: high school students and college students. Each writer would be assigned a group of actors and would meet with them on a regular basis for several weeks or months in order to develop and rehearse a play to be read as part of an evening of staged readings at the end of the semester. The high school/Drama Lab plays would be one reading (say in fall) and the college/Drama Lab plays would be another reading (say in spring). All plays would be 10-20 minutes long.
My original thought was that all of the actors that are assigned to one writer would be a similar age (either young or old), but our group last night agreed that each should be mixed as that will be a much more meaningful experience for all involved. Also, one writer said she would prefer to work on an existing play for this project rather than a new one. I'll take both of these suggestions back to Joye.
It should be noted that this project is completely voluntary and is in addition to, not instead of, our monthly play readings. You can opt out of the project and still participate in the readings as much as you want.
The next step is for Joye and I to hammer out some of the details needed to launch this project at the start of the coming school year. I'm excited about the opportunity and I hope everyone else is (or will be!) too.
See you all next month!
Tuesday, April 12, 2016
New talent
We continue to get lots of new talent in our group. Last night was no exception. We had fourteen people show up, including two new actors, Ira and Joan, and one new writer, Sienna Swenson, who at the age of eight happens to be the youngest writer we've ever had. And we got through five scripts, which is more than we've had in a while, but since the discussions were kept short, we got out by 8:45pm.
We opened with a rewrite of Tim Phillips' Celtic warrior drama, Boudica and the Galatian. In it, Queen Boudica is pressured to poison herself by an ally after their revolt against the occupying Romans fails. The audience felt it could be trimmed quite a bot and that some of the language was anachronistic but overall thought that the story was very powerful.
After that, we read the last three chapters of my large-cast comedy Trouble in Paradise Junction. Here we see Joe desperately trying to prevent the town from being humiliated on national TV, only to have teenage Wilbur save the day instead when he inspires the townsfolk to turn down the riches offered them by the network. There were a couple of places where audience members were confused by the action and some thought the play might be too "cinematic" to be produced easily.
We followed that with the first two scenes from Sienna's action comedy Secret Island. The story is about a group of schoolkids who visit an island on a field trip and discover a fascinating puzzle made out of rocks. Everyone agreed that the play is a lot of fun and that it did a great job of working math into the storyline--something that schools are always looking for.
Next up was a Grant Swenson's short comedy Hoarders. Here an elderly man invites one of those hoarder shows into his home, only to reveal that his wife is hoarding stocks instead of junk. In the end, the husband, with the help of the show's production assistant, convinces his wife to sell some of their stock and start enjoying life. People liked that each of the three characters show a distinct arc and felt that the dialogue was charming without being trite.
We finished up with Trade Secrets, the latest entry in August Mergelman's series of short plays exploring different theatrical traditions. This one is a burlesque take on the stories of Three Billy Goats Gruff and Little Red Riding Hood. The protagonist is Drip, a "top banana" who likes to hit on attractive women from his perch on a park bench. The audience thought it was very funny and did a great job capturing the flavor of that era's humor.
See you at our next meeting on Monday, May 9!
We opened with a rewrite of Tim Phillips' Celtic warrior drama, Boudica and the Galatian. In it, Queen Boudica is pressured to poison herself by an ally after their revolt against the occupying Romans fails. The audience felt it could be trimmed quite a bot and that some of the language was anachronistic but overall thought that the story was very powerful.
After that, we read the last three chapters of my large-cast comedy Trouble in Paradise Junction. Here we see Joe desperately trying to prevent the town from being humiliated on national TV, only to have teenage Wilbur save the day instead when he inspires the townsfolk to turn down the riches offered them by the network. There were a couple of places where audience members were confused by the action and some thought the play might be too "cinematic" to be produced easily.
We followed that with the first two scenes from Sienna's action comedy Secret Island. The story is about a group of schoolkids who visit an island on a field trip and discover a fascinating puzzle made out of rocks. Everyone agreed that the play is a lot of fun and that it did a great job of working math into the storyline--something that schools are always looking for.
Next up was a Grant Swenson's short comedy Hoarders. Here an elderly man invites one of those hoarder shows into his home, only to reveal that his wife is hoarding stocks instead of junk. In the end, the husband, with the help of the show's production assistant, convinces his wife to sell some of their stock and start enjoying life. People liked that each of the three characters show a distinct arc and felt that the dialogue was charming without being trite.
We finished up with Trade Secrets, the latest entry in August Mergelman's series of short plays exploring different theatrical traditions. This one is a burlesque take on the stories of Three Billy Goats Gruff and Little Red Riding Hood. The protagonist is Drip, a "top banana" who likes to hit on attractive women from his perch on a park bench. The audience thought it was very funny and did a great job capturing the flavor of that era's humor.
See you at our next meeting on Monday, May 9!
Tuesday, March 15, 2016
Infusion
We had an infusion of new blood last night as three new actors and one new writer came to our meeting. Two of the actors, Alaina and Sam, were in my production of The Last Radio Show and I was thrilled they were there as they're both wonderful actors.
The third new actor, Marguerite, came on the recommendations of Mark and Lauren Arnest, two talented playwrights who've attended our meetings in the past. Marguerite is interested in playwriting but hasn't started anything yet. For now, she's just happy to hear the other plays and read when she can.
The new writer was Damon Smithwick, a published novelist who has been coming to our meetings off and on for several years. Fortunately, I was able to talk him into bringing his first play last night, and it was a lot of fun. But more on that later.
Overall, we had twelve people show, which was respectable, but I'd like to get more actors involved. We also had some of our liveliest discussions in months. It really helps to have only a few plays to discuss and a lot of actors to discuss them.
We opened with some new scenes from Tim Phillips' relationship comedy Seth and Tracy. In one scene, one woman dishes to another about her experience dating the protagonist, a self-centered jerk named Sharky who spends most of his time writing in bars. In another scene, an ex-friend of Sharky rants about the way he was treated by him. The audience thought that the dialogue was mostly realistic, but thought that the women were so competitive they sounded more like guys.
After that, we read Damon's short comedy, This Universe Ain't Big Enough for the Both of Us. It's about a physics professor who plans to murder his colleague after he learns the other guy has been sleeping with his wife. Some thought that their discussions about quantum consciousness and parallel universes should be dumbed down for the audience while others thought it worked perfectly. There was also some disagreement whether the protagonist should reveal his plan right away or save it for the end. The play ended with an ambiguous twist that everyone seemed to like.
We finished up with four scenes from my Frank Capra-inspired satire, Trouble in Paradise Junction. Here we saw the town being to fall apart as the reality show that's being filmed there has its insidious effect on the citizens. Although it is intentionally not as funny s my farces, most thought it was funny enough. There was a lot of discussion over a scene in which a family of tourists make fun of the townsfolk and whether this should be toned down. It was also pointed out that the characters are starting to sound too much alike.
Our next meeting is Monday, April 11. See you then!
The third new actor, Marguerite, came on the recommendations of Mark and Lauren Arnest, two talented playwrights who've attended our meetings in the past. Marguerite is interested in playwriting but hasn't started anything yet. For now, she's just happy to hear the other plays and read when she can.
The new writer was Damon Smithwick, a published novelist who has been coming to our meetings off and on for several years. Fortunately, I was able to talk him into bringing his first play last night, and it was a lot of fun. But more on that later.
Overall, we had twelve people show, which was respectable, but I'd like to get more actors involved. We also had some of our liveliest discussions in months. It really helps to have only a few plays to discuss and a lot of actors to discuss them.
We opened with some new scenes from Tim Phillips' relationship comedy Seth and Tracy. In one scene, one woman dishes to another about her experience dating the protagonist, a self-centered jerk named Sharky who spends most of his time writing in bars. In another scene, an ex-friend of Sharky rants about the way he was treated by him. The audience thought that the dialogue was mostly realistic, but thought that the women were so competitive they sounded more like guys.
After that, we read Damon's short comedy, This Universe Ain't Big Enough for the Both of Us. It's about a physics professor who plans to murder his colleague after he learns the other guy has been sleeping with his wife. Some thought that their discussions about quantum consciousness and parallel universes should be dumbed down for the audience while others thought it worked perfectly. There was also some disagreement whether the protagonist should reveal his plan right away or save it for the end. The play ended with an ambiguous twist that everyone seemed to like.
We finished up with four scenes from my Frank Capra-inspired satire, Trouble in Paradise Junction. Here we saw the town being to fall apart as the reality show that's being filmed there has its insidious effect on the citizens. Although it is intentionally not as funny s my farces, most thought it was funny enough. There was a lot of discussion over a scene in which a family of tourists make fun of the townsfolk and whether this should be toned down. It was also pointed out that the characters are starting to sound too much alike.
Our next meeting is Monday, April 11. See you then!
Tuesday, February 23, 2016
Thespiana runs this weekend at Cottonwood Center for the Arts
Come out and support your fellow Drama Lab members this weekend at Thespiana, a staged reading of five new plays at the Cottonwood Center for the Arts. The theme is "comedies with a twist" as each play gives a dark and somewhat cockeyed view of the way we live today.
Writers include Drama Lab regulars Chuck Cabell and Jeff Schmoyer, both of whom are getting a staged reading for the first time, as well as Warren Epstein and Mark and Lauren Arnest. Actors include our own Sue Bachman, Roy Kieffer, Sallie Walker,Désirée Myers, Robert Tiffany, Greg Lanning, Elizabeth Kahn and Mike Miller.
I'll be emceeing on Saturday while George Preston, general manager of KCME, will be emceeing on Sunday.
I hope to see you there!
Tuesday, February 9, 2016
Digging out
We're still digging out from the snowstorm that hit last week but had a decent turnout for last night's meeting anyway. Ten people showed up and we read through 4 plays.
We opened with a rewrite of a scene from Sue Bachman's drama Ladies of the Chameleon. In this scene, two older women discuss their experiences getting defrauded by their romantic partners, only to discover that they were defrauded by the same guy. People liked the twist at the end but thought that the buildup was too long for the payoff and that the whole thing could benefit from some tightening.
Next up was Chuck Cabell's short comedy, Come Here Often? The play is set in a bar that is located in Heaven and is frequented by a variety of angels and demons. Gabe (the archangel Gabriel) is retiring and the others fight over who gets control of his human. The audience thought the play had an interesting premise and was very witty, but some felt that it bordered on preachy at times.
After that we read two more scenes from my Frank Capra-inspired comedy Trouble in Paradise Junction. Here we meet Wink Smiley, the self-absorbed host of the reality show that has come to town. We also see how he manipulates the conversation to drive a wedge between two of the town's families. There was some discussion about whether that conflict was revealed too soon.
We finished up with the beginning of Tim Phillips' comedy Seth and Tracy, also set in a bar. In it, a woman tries to make a connection with a guy who is writing at the bar, only to go off with another guy when she gets rebuffed by the writer. Everyone liked it and thought the characters were well-defined.
We meet again on Monday, March 14. See you then!
We opened with a rewrite of a scene from Sue Bachman's drama Ladies of the Chameleon. In this scene, two older women discuss their experiences getting defrauded by their romantic partners, only to discover that they were defrauded by the same guy. People liked the twist at the end but thought that the buildup was too long for the payoff and that the whole thing could benefit from some tightening.
Next up was Chuck Cabell's short comedy, Come Here Often? The play is set in a bar that is located in Heaven and is frequented by a variety of angels and demons. Gabe (the archangel Gabriel) is retiring and the others fight over who gets control of his human. The audience thought the play had an interesting premise and was very witty, but some felt that it bordered on preachy at times.
After that we read two more scenes from my Frank Capra-inspired comedy Trouble in Paradise Junction. Here we meet Wink Smiley, the self-absorbed host of the reality show that has come to town. We also see how he manipulates the conversation to drive a wedge between two of the town's families. There was some discussion about whether that conflict was revealed too soon.
We finished up with the beginning of Tim Phillips' comedy Seth and Tracy, also set in a bar. In it, a woman tries to make a connection with a guy who is writing at the bar, only to go off with another guy when she gets rebuffed by the writer. Everyone liked it and thought the characters were well-defined.
We meet again on Monday, March 14. See you then!
Tuesday, January 19, 2016
Recovering
We had a very lightly attended meeting last night with only seven people showing up, although that included one very talented new actress, Kelly. The attendance was low largely because my play The Last Radio Show closed on Saturday and the cast and crew--many of whom are members of the Drama Lab--were at home recovering from the intense two-week rehearsal period or illness or both.
The number of scripts was down too. We read just three, opening with a rewrite of Grant Swenson's Balance, a short play about a woman engineer struggling to deal with the stress of her job. One of the ways Grant revised the play was by changing the lead character from a man to a woman. The audience liked this change as it seemed to make the character's struggle more realistic and poignant. Grant also added a few touches of comedy to relieve the tension.
Next up was a rewrite of Barbara Summerville's Huckleberry Pie, a short drama about a cantankerous old woman who has lost the will to live and tries to talk her niece into poisoning her. Barbara moved the story elements around quite a bit and added a scene at the end in which the niece has a conversation with her aunt after she dies. People found the play quite moving, especially the way the characters bonded over their singing of some old familiar songs.
We wrapped up with two more scenes from my Frank Capra-inspired comedy Trouble in Paradise Junction. Here we see the townsfolk ignore the lead character's protests to approve a shady contract with a TV reality show. The audience liked the humor and thought that the story effectively portrayed the small-mindedness of small town people, though I'd like to keep that portrayal a fond one.
Our next meeting is Monday, February 8. See you then!
The number of scripts was down too. We read just three, opening with a rewrite of Grant Swenson's Balance, a short play about a woman engineer struggling to deal with the stress of her job. One of the ways Grant revised the play was by changing the lead character from a man to a woman. The audience liked this change as it seemed to make the character's struggle more realistic and poignant. Grant also added a few touches of comedy to relieve the tension.
Next up was a rewrite of Barbara Summerville's Huckleberry Pie, a short drama about a cantankerous old woman who has lost the will to live and tries to talk her niece into poisoning her. Barbara moved the story elements around quite a bit and added a scene at the end in which the niece has a conversation with her aunt after she dies. People found the play quite moving, especially the way the characters bonded over their singing of some old familiar songs.
We wrapped up with two more scenes from my Frank Capra-inspired comedy Trouble in Paradise Junction. Here we see the townsfolk ignore the lead character's protests to approve a shady contract with a TV reality show. The audience liked the humor and thought that the story effectively portrayed the small-mindedness of small town people, though I'd like to keep that portrayal a fond one.
Our next meeting is Monday, February 8. See you then!
Thursday, January 14, 2016
The Last Radio Show opens tonight
Tonight is the world premiere of my newest play, The Last Radio Show. It's a fast-paced farce about KUKU, a struggling radio station in the 1940's, and the mysterious series of "accidents" that threaten to shut it down for good. I brought the script to several meetings of the Drama Lab last year, and the members were hugely helpful in making it better.
The show runs fours shows only at Black Box Theatre, 1367 Pecan Street, in Colorado Springs:
- 7pm Thursday, January 14
- 7pm, Friday, January 15
- 2pm Saturday, January 16
- 7pm Saturday, January 16
Tickets for the two Saturday shows are going fast. To order yours, visit Brown Paper Tickets.
Tuesday, December 15, 2015
Storm warning
Fortunately, we missed a winter storm that was originally forecast to come through last night, threatening to disrupt or even cancel our monthly meeting. But the storm decided to hold off until morning instead, giving all of us lots of fluffy white stuff to shovel when we woke up.
Our first script was Quest for the Golden Fangs, another in Grant Swenson's series of four short plays representing different literary styles. This one represented irony and focused on four teenagers who are given a quest to steal a rival school's mascot head (a walrus). The ironic turn comes at the end when Julio, the leader of the quartet, decides he doesn't want to steal the head after all because his father had done the same thins when he was in school. Some people thought that the language was too mature and sophisticated for teenagers, but everyone loved the characters.
Our next meeting will be postponed by one week since several members are going to be in rehearsal for my play The Last Radio Show. We'll see you on Monday, January 18!
What with all the holiday shows going on in town, we were missing quite a few of our regulars last night, but we ended up with a respectable turnout anyways, with 13 people attending. The play count was down again, however, with only three plays read.
Before the readings, we spent some time discussing what we could do to take the Drama Lab further. There's been a lot of interest in providing collaboration opportunities for writers and actors, as well as producing our own evening of short plays. There's no consensus yet on which direction we're going to take, but we're open to ideas. Let us know what you'd like to see!
Before the readings, we spent some time discussing what we could do to take the Drama Lab further. There's been a lot of interest in providing collaboration opportunities for writers and actors, as well as producing our own evening of short plays. There's no consensus yet on which direction we're going to take, but we're open to ideas. Let us know what you'd like to see!
Our first script was Quest for the Golden Fangs, another in Grant Swenson's series of four short plays representing different literary styles. This one represented irony and focused on four teenagers who are given a quest to steal a rival school's mascot head (a walrus). The ironic turn comes at the end when Julio, the leader of the quartet, decides he doesn't want to steal the head after all because his father had done the same thins when he was in school. Some people thought that the language was too mature and sophisticated for teenagers, but everyone loved the characters.
After that, we read a 10-minute romantic musical comedy by Howard Kirstel titled Reno. Here, we see a recently widowed Jewish man dip a tentative toe back into the dating pool, only to find himself winning the hearts of, not one, but two women. The script includes lyrics to a song that the multi-talented Howard still needs to wrote the melody for. The audience liked the story but thought that the relationships moved too fast. They wanted to see the characters fall in love.
We wrapped up the evening with the beginning of my large-cast comedy Trouble in Paradise Junction, a satire about a reality TV crew that invades a near-perfect, Frank Capra-inspired town. I was worried that the beginning might be too hokey, but people thought it worked because the townsfolk truly believed that their town was perfect.
Our next meeting will be postponed by one week since several members are going to be in rehearsal for my play The Last Radio Show. We'll see you on Monday, January 18!
Tuesday, November 24, 2015
Back to school
Well, it was fun using the Dusty Loo Bon Vivant Theatre for the last two meetings, but in practice, it didn't work as well as we thought. There was little room for the actors to sit between the edge of the set and the house, and the sound wasn't as good as we though.
For this reason, we moved back into our old classroom for this month's meeting, and will continue to meet there from here on out. This also allows us to go back to our second Monday of the month schedule, since we're no longer dependent on the move-in/move-out dates of of the shows in the theatre.
We had an excellent turnout, 16 people, which was our best turnout in months. And we only had four scripts, our lowest count in months. I've got to admit, it was nice having time to discuss each of the plays in detail, and still getting out by 9pm. Whether it makes sense to reduce the number of scripts per meeting is something I plan to explore.
We opened with the beginning of Sue Bachman's new drama, Ladies of the Chameleon. In it, the recently widowed Cynthia dishes to her best friend Maggie about the man who has swept her off her feet. Some said it was suspenseful and that they liked Cynthia's nervousness, while others thought it needed tightening. One person suggested that it might be fun to add a dash of alcohol, with the women revealing more and more about themselves as they get drunk.
Next up was Grant Swenson's 10-minute comedy Quest for the Golden Moustache. He originally wrote it for a collection of four short plays that start the same and end up going in different directions, with this one being the comedic one. Here, a teenage girl is sent by her father on a quest for happiness, only to find her real father at the end. The audience thought there was a nice contrast between the flippant attitudes of Tessa's teenage friends and the serious theme of parental abandonment that the play addresses. But some thought the characters weren't differentiated enough, and several thought that Tessa accepted her new father too quickly.
After that we read Snow White - Alternate Ending, the rewrite of a 10-minute comedy that Jeff Schmoyer brought to Drama Lab a year or two ago. He did a great job beefing up the humor, as both the audience and actors laughed a lot. Everybody liked the rapid-fire dialogue and thought that the Disney-with-a-twist-of-sass characters were fun. There was some concern that the contemporary references might quickly date the play, but others said those could easily be generalized in the script.
We finished up with the next scene from my old-time radio farce The Last Radio Show. In it, we get a Frankenstein spoof called "The Thing with Two Spleens". The consensus was that this show-within-a-show was not as funny as the previous three and that it needs to be to keep the energy rising. The audience also didn't like ending of this show, feeling that it was anticlimatic to have the Monster merely dent the wall of the lab rather than burst through to cause even more havoc.
Our next meeting is Monday, December 14. See you all then!
For this reason, we moved back into our old classroom for this month's meeting, and will continue to meet there from here on out. This also allows us to go back to our second Monday of the month schedule, since we're no longer dependent on the move-in/move-out dates of of the shows in the theatre.
We had an excellent turnout, 16 people, which was our best turnout in months. And we only had four scripts, our lowest count in months. I've got to admit, it was nice having time to discuss each of the plays in detail, and still getting out by 9pm. Whether it makes sense to reduce the number of scripts per meeting is something I plan to explore.
We opened with the beginning of Sue Bachman's new drama, Ladies of the Chameleon. In it, the recently widowed Cynthia dishes to her best friend Maggie about the man who has swept her off her feet. Some said it was suspenseful and that they liked Cynthia's nervousness, while others thought it needed tightening. One person suggested that it might be fun to add a dash of alcohol, with the women revealing more and more about themselves as they get drunk.
Next up was Grant Swenson's 10-minute comedy Quest for the Golden Moustache. He originally wrote it for a collection of four short plays that start the same and end up going in different directions, with this one being the comedic one. Here, a teenage girl is sent by her father on a quest for happiness, only to find her real father at the end. The audience thought there was a nice contrast between the flippant attitudes of Tessa's teenage friends and the serious theme of parental abandonment that the play addresses. But some thought the characters weren't differentiated enough, and several thought that Tessa accepted her new father too quickly.
After that we read Snow White - Alternate Ending, the rewrite of a 10-minute comedy that Jeff Schmoyer brought to Drama Lab a year or two ago. He did a great job beefing up the humor, as both the audience and actors laughed a lot. Everybody liked the rapid-fire dialogue and thought that the Disney-with-a-twist-of-sass characters were fun. There was some concern that the contemporary references might quickly date the play, but others said those could easily be generalized in the script.
We finished up with the next scene from my old-time radio farce The Last Radio Show. In it, we get a Frankenstein spoof called "The Thing with Two Spleens". The consensus was that this show-within-a-show was not as funny as the previous three and that it needs to be to keep the energy rising. The audience also didn't like ending of this show, feeling that it was anticlimatic to have the Monster merely dent the wall of the lab rather than burst through to cause even more havoc.
Our next meeting is Monday, December 14. See you all then!
Monday, November 16, 2015
Drama Lab is cancelled for Monday, November 16
Due to the poor weather conditions, Drama Lab is cancelled for tonight. I'll see about getting a space for next Monday. Otherwise, we'll wait until December. Check back here for updates.
Tuesday, October 13, 2015
High spirits
Appropriately for this spooky time of year, we met last night in the shadows of TheatreWorks' set for Ibsen's Ghosts. There weren't any spooky plays. Instead we read a raft of comedies, five in all. And we did have some very "spirited" discussions (sorry). Total attendance was a healthy fifteen.
We opened with some pages from The Goblin and the Gremlin, the last of August Mergelman's short plays exploring different theatrical traditions. This one gave us a taste of English mummer's theatre, which August explained is full of "cheese and corn". In the play, August deftly mashes up two popular stories from England, the romance of Pyramus of Thisbe from A Midsummer Night's Dream and the legend of St. George and the Dragon. The audience thought it was a lot of fun and that the rhymes worked really well.
After that we read Deirdre Gilbert's short play Requiem for Octavia, the humorous tale of a funeral at which an older couple is shocked to learn that their son's deceased mate was an octopus. People loved the naivete of the mom and dad as well as the clever puns (e.g. the son met his girlfriend in a "dive"). There was a lot of discussion about when people first realized that Octavia was an octopus and whether that should have occurred earlier or later in the story.
We next read the beginning of Tim Phillips' fairy tale comedy Grimmland. Tim first brought it to Drama Lab three years ago, but Black Box Theatre director Nancy Holaday has been bugging him to finish it so he decided to bring it back. The play gets off to a comical start as the rank-smelling Bearksin kidnaps Jacqueline, a young girl who gripes non-stop about her captor's aroma. The audience agreed that the scene had nice, sharp dialogue but wondered whether some of the action might be too violent for children.
Next up was the beginning of Young Love, a romantic comedy by our newest writer Will Prenevost. In it, an older couple, patterned after Cary Grant and Rosalind Russell, try to seduce a younger couple, based on Jimmy Stewart and Carole Lombard. Everyone loved the characters, but several people were confused by the seeming anachronisms in the dialogue. Will explained that while the play is meant to convey the tone of a 1940's screwball comedy, it's actually set in the early 1990's.
We wrapped everything up with some more pages from my old-time radio farce The Last Radio Show. Here the hapless cast loses three more actors as Roxie loses her glasses, Rita gets stage fright and Maggie is forced to fend off the hamsters who have invaded the control room. We also get a western drama, Tex King, the Humming Cowboy. The audience enjoyed the humor, although some people pointed out that there were anachronisms (middle school and duct tape) and another person felt that the character descriptions weren't accurate.
There was an extra treat this evening as Chuck Cabell went over the critique he received from Linda Seger on his assisted suicide comedy, Hemlock (Linda is a screenwriting guru had a successful career in Hollywood working on films like Harrison Ford's Witness). Linda's comments matched many of those made during our meetings, including the fact that much of the most interesting action happens offstage and we never see the thug who serves as the main antagonist. Linda also pointed out that it's hard to get the tone right in a black comedy like this and that Chuck might want to try making it funnier. Chuck admitted that many of her comments were dead on and is seriously considering the rest. For more info on Linda's services, visit her website at www.lindaseger.com.
Our next meeting is Monday, November 16. See you then!
Friday, September 25, 2015
The Last Radio Show auditions
I'll be directing the world premiere of my old-time radio farce, The Last Radio Show, in January. Auditions are scheduled for 1:00pm to 4:00pm on Sunday, October 18 at Library 21c in Colorado Springs. For complete information about the auditions, please visit the play's blog.
Tuesday, September 22, 2015
Movin' in
Last night we had out first meeting in the Dusty Loo Bon Vivant Theatre, just steps away from the elegant set TheatreWorks created for their production of Noel Coward's Private Lives. The ambience was fabulous--we're ina real theatre now!--although it appears that we still have to figure out the seating. For this meeting, we set up chairs in a row in front of the house seats, and while that made it easy for the audience to hear and see the actors, the actors themselves complained about not being able to hear each other. Some alternative seating arrangements were suggested and we will be exploring these in the next few weeks.
We had a decent turnout, with 12 people showing up, including our newest writer Rebekah Shardy, as well as TheatreWorks' new managing director Will Prenevost, who has extensive experience in acting and promises to bring some of his own writing to future meetings.
We opened with the beginning of Tim Phillips' historical drama Celtic Warrior Queen. In it, real life figure Bodica tries to inspire her subjects to revolt against the Romans, with the would-be queen finding her greatest opposition in the practical-minded gladiator Lugaid. The audience liked the Shakespearean scope of this action-packed story. Tim said that he doesn't have a theme that he's working towards but expects one to naturally come out of the work by the time he's finished.
After that we read some pages from August Mergelman's A Comedy of Pairs. August originally intended this commedia dell'arte twist on Shakespeare's A Comedy of Errors to be one of his series of show plays exploring world theatrical traditions, but in writing it, he found he had so much material that he decided to make it a longer, standalone play. Here we see Dottore hypnotizing Pantalone's jewel-crazy fiancee Adriana to make her less materialistic. The humor was great and the characters well-drawn.
We followed that with Rebekah Shardy's An Honest Woman, which was inspired by the life and writings of Dorothy Parker. The play featured an array of quirky characters including Death, an outspoken evangelical housewife, actor/writer Robert Benchley and a version of God inspired by 1920's jazz singer Josephine Baker. Rebekah did a great job hitting the high points of Parker's life while maintaining Parker's wonderfully snarky tone throughout. I'm sure everyone is looking forward to seeing more of Rebekah's work.
Next up were some more pages from my old-time radio farce The Last Radio Show. Here we heard an episode of Clint Hazard, Wardrobe Detective in which the stalwart gumshoe tries to find out who's responsible for a woman's missing sock. After that, the hapless radio crew loses another actor as Maureen suffers a debilitating allergy attack. People liked the fast pace and the humor, although there were several gags that could be tweaked and at least one anachronism that I may or may not keep (Kenny G?).
We wrapped it all up with the first scene of a Time to Live by Howard Kirstel. Howard has participated as an actor for several months now, but this is the first time he has brought his own writing. Not only is he a talented writer, but he's a gifted pianist as well and he put those gifts to good use in this work, creating a musical that explores a family that is threatened to tear apart on the eve of the daughter's wedding. Everyone enjoyed the mixture of poetry and prose, with the poetry serving as the lyrics of the songs which Howard says he has already written.
Our next meeting is in just three weeks. I look forward to seeing you all on Monday, October 12.
We had a decent turnout, with 12 people showing up, including our newest writer Rebekah Shardy, as well as TheatreWorks' new managing director Will Prenevost, who has extensive experience in acting and promises to bring some of his own writing to future meetings.
We opened with the beginning of Tim Phillips' historical drama Celtic Warrior Queen. In it, real life figure Bodica tries to inspire her subjects to revolt against the Romans, with the would-be queen finding her greatest opposition in the practical-minded gladiator Lugaid. The audience liked the Shakespearean scope of this action-packed story. Tim said that he doesn't have a theme that he's working towards but expects one to naturally come out of the work by the time he's finished.
After that we read some pages from August Mergelman's A Comedy of Pairs. August originally intended this commedia dell'arte twist on Shakespeare's A Comedy of Errors to be one of his series of show plays exploring world theatrical traditions, but in writing it, he found he had so much material that he decided to make it a longer, standalone play. Here we see Dottore hypnotizing Pantalone's jewel-crazy fiancee Adriana to make her less materialistic. The humor was great and the characters well-drawn.
We followed that with Rebekah Shardy's An Honest Woman, which was inspired by the life and writings of Dorothy Parker. The play featured an array of quirky characters including Death, an outspoken evangelical housewife, actor/writer Robert Benchley and a version of God inspired by 1920's jazz singer Josephine Baker. Rebekah did a great job hitting the high points of Parker's life while maintaining Parker's wonderfully snarky tone throughout. I'm sure everyone is looking forward to seeing more of Rebekah's work.
Next up were some more pages from my old-time radio farce The Last Radio Show. Here we heard an episode of Clint Hazard, Wardrobe Detective in which the stalwart gumshoe tries to find out who's responsible for a woman's missing sock. After that, the hapless radio crew loses another actor as Maureen suffers a debilitating allergy attack. People liked the fast pace and the humor, although there were several gags that could be tweaked and at least one anachronism that I may or may not keep (Kenny G?).
We wrapped it all up with the first scene of a Time to Live by Howard Kirstel. Howard has participated as an actor for several months now, but this is the first time he has brought his own writing. Not only is he a talented writer, but he's a gifted pianist as well and he put those gifts to good use in this work, creating a musical that explores a family that is threatened to tear apart on the eve of the daughter's wedding. Everyone enjoyed the mixture of poetry and prose, with the poetry serving as the lyrics of the songs which Howard says he has already written.
Our next meeting is in just three weeks. I look forward to seeing you all on Monday, October 12.
Thursday, September 17, 2015
New venue
Exciting news! Thanks to the generosity and support of TheatreWorks, especially their new managing director and Drama Lab member Will Prenevost, our group will now be meeting in...
Drumroll please...
The Dusty Loo Bon Vivant Theatre!
The classroom served us well for a year and a half, but I'm excited about our move into the Big Room as it represents a whole new level of commitment from TheatreWorks and should make our readings a whole lot more professional and fun.
Of course, the Dusty Loo is a busy place, so from now on, we're going to need to be flexible with our meeting dates. The second Monday of the month will continue to be our default date. However, I may move the meeting forward or backward a week as needed to get the theatre.
Our meeting dates for the next six months are:
Monday, September 21
Monday, October 12
Monday, November 16
Monday, December 14
Monday, January 18
Monday, February 22
As always, the latest info for the next meeting is shown on the right side of this page.
Wednesday, September 9, 2015
Private Lives opens September 10 at TheatreWorks
Next up on TheatreWorks's season is the classic Noel Coward comedy, Private Lives.The play offers a biting and hilarious look at modern relationships as it follows a divorced couple forced to reexamine their failed marriage after booking adjoining rooms with their new spouses on the French Riviera. Showtimes are 7:30pm Tuesdays through Fridays, 2pm and 7:30 pm Saturdays (no matinee September 12) and 4pm Sundays through September 27.
This month's Prologue promises to be a special one. John Lahr is perhaps most famous for being the son of actor Bert Lahr, who played the Cowardly Lion in The Wizard of Oz. But he's also a respected show business personality in his own right as the longtime theatre critic for The New Yorker and biographer of such theatrical luminaries as Noel Coward and Tennessee Williams. A discussion Lahr starts at 2:30pm on Sunday, September 20 in the Dusty Loo Bon Vivant Theatre. Afterwards, Lahr will sign his new book, Joy Ride: Show People and their Shows, a behind-the-scenes look at some of the most important playwrights of the last 70 years.
See you there!
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