"To Respect the Code"....

"What's the code?"
"Unit, Corp, God, Country"
"Excuse me?"
"Unit....Corp....God....Country.....Sir..."


So there was a "Storefront Theatre" summit held about a week ago. I wasn't there, but a few bloggers were, and so far the info I've heard has been a little mixed (at best). I withold judgement on the actual substance of the meeting, as I was not present.
However, during the meeting, they broke up into smaller brainstorming groups, and one of the topics that was floated in a group was the idea of a "Code of Ethics". At first, I couldn't explain why, but my back bristled up at the mere thought of a code. It has taken me a few days to formulate a "why" for the back bristling, but here is what I posted in the comments of RebbecaZ's blog:

"Here's how I feel about the code...

In the same time period that we are challenging each other to do more "dangerous" theatre, to take risks and do things outside the box, we're also considering putting together a list of rules and regulations as well?
It all seems counter-productive to creating great art.
Let me be clear, though. I'm not suggesting that creating dangerous theatre includes un-ethical things (actors being late or dropping out, designers not completing work, etc etc), I'm saying that the whole NOTION of a code of any kind, no matter how harmless it may seem in the germination stage, will feel like a stranglehold on the art, IMHO.
I think if a certain idea comes out of the summit, for example 3 theatres teaming up for a festival, and those theatres want to put to paper some regulations for each other for that PROJECT, then have at it.
One of the things I love about Chicago theatre is that we don't fall into a pigeon-holed category. There is a little bit of sum'thin for everyone. I think the idea of all of us agreeing to a set of rules threatens to homogenize us.
I'm now going to go off and find more ways to create thoughts that include "germination" and "homogenize" in the same paragraph. Perhaps a haiku."

Here, however, is the promised haiku.
The first one I've probably written since I learned about haiku in the 4th grade.
Enjoy.

Seed germination

A code of ethics. That sucks.
We homogenize

Of course.....

....the busiest week I've had at work in what feels like months would OF COURSE co-incide with tech week for me.....

I'm working on a maximum of 5 hours sleep a night, I'm pounding until 5pm to get it done, no overtime allowed at work anymore, gotta get it done by five, have to run to get a bite to eat, swallow down the salad with the lowest points at Potbelly, hop on train to get to theatre by 630, pre-show starts at 745, run of show done at 930, notes in the house for about 15ish, clean up and put away, lock up and head to bus or train at 1030, home by 1130, put away work clothes from my bag from earlier in the day, pick out work clothes AND show clothes to bring with me, refill water bottle, clean out bag and fill with things for the next day, change into PJs, set alarm for next day (630am), hop into bed, kiss Sara good night, roll onto my side and pet my cat Maxwell (who always curls up next to me in bed) while I stay awake for another 15-30 minutes agonizing in my head "have I forgotten anything?", HOPEFULLY fall asleep before 1230am......

alarm goes off at 630am....do it all over again.....

Coming your way 9/24

The TRAP DOOR THEATRE presents:
The Mid-west premiere of…
12 Ophelias: A Play with Broken Songs
Written by: Caridad Svich
Directed by: Kate Hendrickson
Original Music Composed by: Caridad Svich, Alison Chesley, & Nicholas Tonozzi
Arrangments by: Alison Chesley with Nicholas Tonozzi

Cast: Casey Chapman, Geraldine Dulex, Noah Durham, Jen Ellison, Joslyn Jones, Nikki Klix, Mildred Marie Langford, Kevin Lucero Less, Emily Lotspiech, Judy Loyd, Alyson Lyon, Pamela Maurer

Shakespeare's Ophelia rises up out of the water dreaming of Pop Tarts and other sweet things. She finds herself in a half-remembered land where Gertrude runs a brothel, Hamlet is called Rude Boy, and nothing is what it seems. In this mirrored world of word scraps and cold sex, Ophelia cuts a new path for herself.Combining original music with poetic and colloquial language, 12 Ophelias is a theatre song-poem about being broken by society and love, being lost and finding yourself again.

Assistant Director: John Kahara
Choreographer: Camille Kuthrell
Arranger-Composer: Alison Chesley
Music Director & Assistant Arranger-Composer: Nicholas Tonozzi
Lighting Designer: Gina Patterson
Set Designer: Joseph Riley
Stage Manager: Dianna Driscoll
Fight Choreographer: Mathias Maloff
Graphic Designer: Michal Janicki

Opens: Thursday, September 24, 2009 at 8 PM.
Closes: Saturday, October 31, 2008 at 8 PM.
Runs: Thursdays, Fridays and Saturdays at 8 PM.
Admission: $20 (2-for-1 on Thursdays)
TRAP DOOR THEATRE, 1655 W. Cortland Ave., Chicago, IL 60622
Info/Reservations: 773-384-0494
To purchase tickets online: http://www.trapdoortheatre.com/

15 Theatrical Experiences that Will Stay WIth Me

Awhile ago, Bilal did a meme on this, and Don did a version as well.

The criteria was “15 theatrical experiences that are always going to stick with me, either as a participant or an observer”, and to try and list those 15 in no particular order.
I've been working on mine for awhile. I had the list, but wanted to take the time and describe each experience seperately, whether I was participant or observer.

My apologies for the length.

1) A View From the Bridge (Salem State College Theatre Department, Fall 1993). After 4 years of High School Drama Club, my mom told me I’d be killer in radio (I still think I have the voice for it….), and she encouraged me to do a Communications major instead of Theatre. I think she was afraid I'd be poor my whole life! My first semester in college was rough. I was living with my Aunt, commuting a long distance to school, working a crap job, had just broken up with my boyfriend a few months earlier, and was estranged from my best friend. The ONLY thing I had that was fun was my chorus class. That class alone will need an entire separate entry for another day. Anyway, my chorus pal Todd was a Theatre Student, and I kind of had a crush on him, so when he suggested we go to see the Theatre Departments fall show “A View From the Bridge”, I was totally in. When I walked in the theatre, my first time inside the SSC Mainstage which I would spend thousands of hours in over the next few years, I was initially blown away. The set design (H/T to Jim Fallon) was a perfect rendition of a Brooklyn tenement area. Stairs going up the side of the proscenium to mimic fire escapes – it was amazing, and I was awestruck. Todd leaned over and whispered to me “See those stairs? I painted them.” He was so PROUD to have been even a small part of what was being presented, and it showed. I went to the registrar’s office the very next day and changed my major to Theatre. Thanks Todd…

2) Frankie & Johnny in the Clair de Lune (Salem State College, Senior Directing/Acting Thesis’ – Feb of 97) – This was the senior directing project for my pal Peter Sofronas, as well as the senior acting project for my best friend Jenn Leavitt (Chicago peeps will know her as Jenn Adams, Founder of Halcyon Theatre). As a group, I think we had a blast. I had never seen Jenn & Peter work so hard on something before, and it was inspiring for sure. Also, it was the rawest performance I had ever seen Jenn give. I was so proud of the places she got to in that role (I still am). To this day, if I hear the music, I instantly think of this show. And as a side note, this show proved once and for all that working with real food props SUCKS! Someday I’ll tell the amusing meatloaf incident. It’s a classic.

3) Guys & Dolls (SSC, Spring of ‘99). This good ‘ole musical holds several places in my heart and mind. This was (and still is) the biggest production I have ever stage managed. I had a cast of about 30+, a full orchestra of about 20, a crew of about 15, and *3* (count em, 3) ASM’s (and let me tell you, I needed every one of those ASMs). It was HUGE. It was also my final show I Stage Managed at SSC, I moved to Chicago about 4 months after the show closed. I worked with some of my all time favorite college chums on that one, plus DAG was directing/choreographing, so it was fun too. Dude, I can still hear Matt singing “Sit Down, You’re Rockin’ The Boat”, Eric & the boys singing “Luck be a Lady”, and of course, Bri singing “Till There was You”.

4) Anything Goes (Everett High School, Everett MA – Spring 1990). First show I was ever in. I was in the chorus; I spent a sum total of about 10 minutes on stage, but had the time of my life. I was hooked.

5) Coronado (Steep Theatre - fall of 07) from the moment I read the play, I knew I wanted to work on it. I begged my friend Kevin Gladish to be his Assistant Director. He let me because he took pity on me (Not true, I asked, he said sure, it was great). WHAT AN EFFING CAST! I was always amazed by the performances they gave. And you want to see raw? You should have seen the performance from Karyn Morris (now Brownlee). She astounded me, from the moment she read for the part up until she took her final bow. Amazing.
(Also, I had worked in that space several times with SRT, and had also seen plenty of shows there (Steep and others), but this was the FIRST AND ONLY TIME that the music from the honkey-tonk bar next door blended in so well. )

6) Metaluna…And the Amazing Science of the Mind Revue (WNEP - July/August 2008). ::sigh::
What can I say about working on this show? Such a mixture of emotions. Overall, the best show I’ve worked on in Chicago, thus far. I was amused and entertained all the way up until the final curtain call – those guys were still making me laugh on closing night. And as a Stage Manager, that’s a tall order. I mean, I had been with this material for months, had see it all performed so many times (we’ve all been there before, when the show loses its luster after a couple of weeks.), and I never was bored. It was my first introduction to DADA, and I guess you could safely call it “DADA-lite”? Still some crazy DADA poetry, but a little more plot than the usual DADA plays. I adored working with every one of the cast members, including some pretty freaking superb understudies who got tons of face time (Scotty, H.B. & Regan, I’m looking right atcha!)
For a process that began with Jen Ellison propositioning me to SM Metaluna over a glass of wine at the closing night reception for Raw, and ended with Don Hall giving me what is affectionately known as “the clapper”, this was definitely a crazy ride. I love all my Metalunites. And to them I say “Hairmp!”

7) Soiree Dada, Schmuckt Die Hallen (WNEP - December, 2008). If you never got a chance to see Jen Ellison’s DADA Dabo reign supreme over her rag-tag troupe of DADAs, then you truly missed out. I paid to see this show twice, actually. I went on opening night, and then again on closing weekend. Some moments will be there forever. DADA Grizzle’s speech about his name, DADA Nip’s uncomfortable moment with the baby doll and the audience member, DADA Flutter’s heart-breaking sugar plum fairy dance….but nothing can emotionally prepare you for the final moments. Watching Dabo remove all the makeup, and pack up her things….I cried like a baby each time I saw it. It was powerful and painful.

8) Touch (New Leaf Theatre – Jan 2009). This one is going to stick with me for quite some time. The palpable sense of loss that Dan Granata was able to create in that role was just ….awesome. About 15-20 minutes in I started to cry, and wept silently for pretty much the rest of the show. Then I went home and cried some more. In fact, I was so moved by the piece, I blogged about it (http://allthingsdianna.blogspot.com/2009/01/trust-me-i-was-touched.html), which doesn’t sound crazy now because I’m blogging more these days, but I was a little more infrequent about it then. Anyway…this show was fantastic, it furthered my love for New Leaf Theatre (what’s not to love, really?), and solidifies the fact that Dan Granata is a crazy talented actor and Jess Hutchison is one of the most talented directors out there. Period.

9) King Lear (Goodman Theatre – fall of 2006). This one will be controversial for the Chicago folk, mostly because tons of people hated this show. And you know what, I don’t give a shit. I adored this show. Granted, I’m not one of those Shakespeare enthusiasts who has seen a bunch of Lear before – this was in fact my first time seeing a stage production of it. Where people thought it was “overdone and too lavish”, I said it needed to be that way… how do you compare the world that falls apart for Lear with the opulence of his life before it without seeing some visual aids? Yes, Goodman has more money – but they also had Stacey Keach – who I thought was wonderful, Edmund Gero, and freaking Steve Pickering – who was the heart of the show in my opinion. And the music – I still hear some of the “keening” music during the war scenes in my head. I was on the edge of my seat for a show whose first act was almost 2 hours…. That’s amazing, I think.

10) Little Shop of Horrors (EHS – Spring, 1993). The best show I worked on in High School. And it was the FIRST time, when auditioning for a musical, in the slot that said “If the role you are interested in isn’t offered to you, would you accept a chorus role?” – I filled in “NO”. Needless to say, the fat chick played Audrey. The best part – on the day of opening night, we would always do a ½ hour – 45 minute “preview” of some of the songs for the school. We did “Skid Row” – I’ve never had applause like that for me in my life. I spent all day going to class with people stopping me in the halls to say what a “wicked awesome” singer I was. My favorite hard-ass teacher applauded me when I got to class… it was the best day of my high school life. I still smile thinking about it.

11) Young Mr. Ryan’s Ambition (SRT’s Vitality Playwrighting Festival – July ’05, Around the Coyote Festival – Aug ’05) This one always makes me laugh. The triumphant return to the stage after about 10 years!!! Hahahahah!
It was a ten minute play, and I played the mute, cuckolded wife and mother. It was awesome. I can still picture Austin as the douche-bag son, and Gladish as the slightly retarded hit-man. This show was so much fun to be a part of….and it was all directed by Adam Webster (Artistic Director of the side project). Awesomeness.

12) Rising (SRT’s Vitality Playwrighting Festival, July ‘07). My directorial debut – what a great show! Introduced me to Delaware's hidden gem, Kristyn Robinson (her plays are great). I had 2 great actors, I picked a simple, straightforward script, and I tried to make it as realistic as I could. The festival it performed in was "judged" to select the best play, and the playwright won some dough. Mine won. I was so excited for Kristyn (seriously, find a short play of hers and READ it fer crissakes), and if she ever decides to grace Chicago with her presence, she'll ghet a long overdue hug from me. (Side note, my piece was highly praised by 2 judges whose work I was familiar with but I had not formally met yet - Jen Ellison & Don Hall)


13) Death and the Maiden (Red Wolf Theatre – Spring 2001)
It was the first (and only) time I’ve quit a show I was working on.
I was the stage manager for this show up until about 5 days before it opened. This show was a tough lesson in “How much Dianna can take until she can’t take anymore”. I can still taste the cigarettes I smoked in response to my panic attack. Long story.

14) Crucible (SRT – Fall of 2006)
This show was ambitious in some ways – fool hardy in others, but overall had sequences in it that still give me goosebumps when I think of them (Best opening sequence to a show EVER). We set the whole thing to drums and added in movement for the scene transitions. We had minimal set, but an excellent lighting and costume designer who created visual beauty, a sound design that set the mood in no way I’ve ever heard before – and it all was staged in a church with huge stained glass windows so you felt the wrath of God on you at all times. We got some of our best reviews for that show, and it felt great. (and to that I tip my hat to the notoriously hard to please Jack Helbig)

15) Blue Man Group Chicago (March 2007 – December 2008)
The purists out there call BMG a commercial production devoid of much merit. I completely disagree – sure, I worked there, but this isn’t a “drink the kool-aid” feeling. There were parts of the show that I could watch over and over. The themes of isolation, group mindset, alienation, how to “follow the crowd”; these are all universal themes, and I always thought that BMG handled those with such an artistic flair. Sure, they cover you in toilet paper and spray wet stuff onto the audience, but it’s the WAY they do it that’s ….awesome. And there isn’t a better live band at a theatrical production anywhere. Hands down.
After I had been working there awhile, people asked me what it was like to work there, and I would say without hesitation that it was like being able to work at a rock concert every night. This show fulfills 2 categories I guess. As an audience member, I loved it, and as an employee I loved it. Anyone feel like going to see it some time soon? It’s been awhile, and frankly, I miss it.

Time may be up for TimeOut Chicago

I have some bones to pick with TimeOut Chicago. None of it has to do with the reporting, which I find to be top-notch (especially the theatre coverage)

A couple of years ago, I bought a copy of the fairly new TOC on the newstand. I was lured in by their sexy color pages, and their EXPANSIVE theatre coverage. At least one major article a week to lead off the section, plus a ton of reviews, and some pretty comprehensive listings. Plus, those sexy color pictures of shows either being reviewed or already in performance. What's not to love?

So I subscribed. And I LOVED it. I relished getting that copy a full 24 hours before other people. Whether it was a friends show I was anxious to see the review on, or one I was working on, it was nice to know I had a mini-insider pass to see what was thumbs up/down first. Plus the rest of coverage is great - specials on Chicago neighborhoods, new restaurants, new movies, books, music...Every Wednesday after getting home from work I would devour the copy from cover to cover.

Since becoming a subscriber I've had 2 big moments of pause.

First, about 2 years ago, they were running a special for NEW subscribers. $9.99 for the year, sign up now, limited time offer. I went to renew my subscription not long after that.... still the usual $19.99 (which yes, is a BIG savings from the newstand --- but there's something to be said for trying to maintain your current subscribers, you know?). Well, I wanted to support the one publication that I thought was giving the most comprehensive theatre coverage, and so I bit my tongue at the time and paid my $19.99. And since that time, I've renewed at that price again. Yep, no specials for the long time valued customer.... oh well what can you do?

The second....
This one is tough because it's a BIG direct crticism of my favorite section - theatre.
It's not content, word count, or coverage...
It's the exclusivity I used to enjoy by BEING a subscriber that is now gone.
Every Monday, when I hear that the latest reviews are up at TOC.com, a small dagger pierces my heart. And the daggers pierce again on Wednesday, when I get home, pick up my new copy of TOC, and I know that THOUSANDS of people were able to read those reviews before I did, and they were able to do it for FREE.

TOC, I love you, and I love your coverage.
And Mr. Vire, sir, you know that I think you (and Chris before you) do a BANG UP job of getting the maelstrom that is Chicago Theatre tamed once a week so that it's pleasant to the eyes.

However, when my current subscription runs out, I won't be renewing.
Why pay 20 bucks for what others can get for free?

I agree that online content is the wave of the future, and is a completely necessary item. I'm not looking for that feature to be taken away by any means. But making your content available to non-paying customers before the paying ones is seriously a slap in the face. Why can't the online reviews be posted at midnight on Wednesday? or first thing Thursday morning to conincide with the copies being on the newstand?

How do we build a future from a present we didn't expect?

Last night, I attended an "open rehearsal" for New Leaf's new show, The Long Count. It was great - just a handful of us, plus the cast and a few of the New Leaf artists. First off, the Curator of the event, Marsha Harmon, spoke a little about the process so far, how the company had been writing and collaborating for awhile, then they cast the piece, etc etc. She also went through the structure for the night - they were going to warm up a little with a Viewpoints exercise, then work on one piece from the show, take a break, work on another piece, then questions (if you had them), and then close out the rehearsal.
First off, Jessica Hutchinson led the cast in a quick Viewpoints exercise. Now, lots of people have opinions on Viewpoints - whether it actually helps or not, etc... In this case, however, I think it was an invaluable exercise. Mostly, because of the style of the piece they were doing - the show is completely dependent about group dynamics, with movement, etc. And it was wonderful to watch a group of performers come together an work so cohesively - it set a great stage for the rest of the rehearsal.

Jessica then led the cast through a particular scene that they needed to work on - they ran the scene once with lights and sound - then they talked as a team and discussed new ideas, and new methods to achieve the look and feel they were hoping for. Then they ran it again, with the new ideas in place, and every one ended it with a nod of the head indicating "yeah, that feels so much better...".... I found I was nodding along with them, as both an observer and a participant.

We took a break (when the stage manager Rebecca said "Let's say 11 minutes then", all the folks watching said "thank you 11"...brilliant...)

Then after the break, Kyra led them through another scene to be worked. Again - ran the scene once with lights and sound, then talked about ideas to tighten up, etc etc, then a couple of trial runs to see if the ideas worked, then running the scene again.

When it was done, Marsha invited all of us to come together in the center, we made a circle with our arms aournd each other, Marsha took a moment gave some words of thanks, then we all took a deep breath in together, and then let it out together, cast & audience TOGETHER. Wonderful.


(And then we went to Stanley's and drank beers. )

Red Noses, and more

How cool does this show look? I'm ashamed to say I've never been to a Strawdog show, but the description of this show sounds so engaging!

I have a little time in April before my next show -- I think I need to cram some good theatre in there. This one is at the top of my list.

I also need to go see my favorite diminutive Texan in this


I won't be able to see D-Ray or Adam in THIS, becaue it runs during my show in May.
Maybe I can finagle my way into a rehearsal before I go into tech on the 27th.
(Bob Fisher, I'm looking RIGHT AT YOU)

I'd also like to squeeze in Bries-y in Prime of Miss Jean Brodie

Busy Busy Busy April!

Slow fade

No matter how much sleep I get, or how balanced my meals were so far in the day, I inevitably start the "slow fade" sometime around 2. It's 2:04pm right now, which basically means I'm ready for my nap now.
The crappy thing about it, is that the afternoon can tend to be some of the busiest times for me at work - I leave at 5 and there's always a hustle for the banquet staff or the set up crew or whatever to need something from me before I leave for the day. Labels, a room sign, blocking off a function room, you name it. Not time consuming things, for sure, but when it's during the "slow fade" time, I move as if I'm walking through peanut butter, albeit the non-salmonella kind ;)
I have a stack of files next to me that are about 8 inches high, and thats just the priority stuff. However, I think I'll just yawn a little bit and update my blog.

I went in on some lottery tickets with a coworker and about 5 others. You know how it is - anytime you hear about the winners of some multi-million jackpot it's always some crazy happy group of coworkers who won - am I right? So we feel we're increasing our actual odds as well as our Kharmic ones by going in with colleagues!

If I were a multi-millionaire, I would update my blog more - I promise!

It's actually a little hard to know what's the first thing to do if I were to win. I mean, it's not like there are a lot of SOUND investment opportunities out there right now. Obviously, a house would be paramount - but where? If Sara and I were in a "money is no object" situation, I'm not sure Chicago is where our home address would be. I love California, but who knows?

I would most certainly quit my day job, but would ABSOLUTELY still do theatre.

And... I think I'd follow the Red Sox on the road a little...

Trust me, I was touched

Last night, I joined Jen, Dave & Jen's sister Amy to go and see New Leaf's production of "Touch". When the show was over, we were all smushed into Amy's car, and Jen asked all of us what we thought - we all agreed that we needed some time to let the show "marinate" in us, if you will.

For me, the answer is simple and yet complex. I loved it and hated it equally. I loved the show and the performances were absolutley outstanding. I hated that it completely knocked me sideways. I cried throughout most of the show - I'll drop the tears on movies and even commercials for crying out loud, but it's rare to find a theatre piece that moves me as much as this one did. Which is funny, when you think about how I've always pursued the theatre life, and never tried to do any movie work, etc. I mean, theatre is my life of choice, my adopted family that always hugs me and tells me that I rock. Why had nothing ever affected me like this before? Without sounding trite, perhaps my heart was waiting for the perfect confluence of events to spill forth ragged tears of sorrow.

(**if you haven't seen the show and plan to, I plan on discussing details - you were warned**)

I can pinpoint the moment I started crying. Kyle tells the story of how his beloved Zoe one time came over to where he was sitting one night, amongst a group of friends, and didn't simply sit on his lap, but curled up ON HIM. She then told him that she loved him "...in front of other people!"
I couldn't help it - the intimacy of the gesture just filled my heart to overflowing, and i started to cry.

The loss and pain that Kyle dealt with during this journey was so overwhelming, that I felt overwhelmed for him - I wanted to hug him, and yet knew that my gesture would accomplish nothing, as his sorrow was too great.

There's a beacon of hope for Kyle at the end. Things aren't perfect, and never will be (how honost is THAT), but there is HOPE, which is very important.

Jen dropped me off at the red line, and I sat on the train, listening to melancholy music as I usually do, but this time it MAY have been a mistake. I bit the inside of my cheeks from Sheridan all the way to Jarvis to keep from crying. As I got off the train and made my way down the alley toward my house, the music shifted to The Beatles "Yesterday". It made think of Sara, she's the one who has turned me on (late, i know) to The Beatles, so all their music makes me think of her by default.

I quickened my pace - it was FREEZING, by the way, which is in and of itself depressing. With a heavy heart, I did my usual nightime routine. Put out my bag, keys, clothes for work. Kept holding it in. Got into bed. Sara came in a little later, slid in beside me. I held her tight, as if I thought she might not be there when I let go. I tried to explain why I was so melancholy, and for once she didn't call me a nerd for crying about something I saw. I tried to impart why it had affected me so deeply, but I'm pretty sure I was just yammering.
She held me close and then kissed me tenderly while we made love in the dark.
I told her I was so sorry for being so out of sorts, and she just held me and stroked my head while we fell asleep.

My heart still aches today.

The Blue Sack

My buddy Joe gave me the title.

Blue Man gave me "the sack"... witty, isn't it? :)

Oh well, I can now say "the current economic crisis has affected me". The silver lining is that I only worked there part time, and I do have a well-paying day job, so money-wise, we're ok.
But, I loved working there, and I'm going to miss it terribly.

Anyone out there looking for a house manager for their winter show?
Or a Stage Manager for their Spring one?
I am clearly available.

HERE WE COME!!!!

Don took some great pics last night at "Metaluna".

Here' s a great one of the cast (minus our 2 fab-oo understudies)

(there are some more great ones on his BLOG)

We had our first of 3 previews last night - and things went REALLY well. It was great to finally put it in front of an unsuspecting crowd. There were a couple of SUPER minor hiccups, and the cast made it look like everything that happened onstage happened for a reason.

Two more chances to see it for 5$, tonight & tomorrow night, then we're off on Thursday (not me, though - I have to work at Blue Man of course!), then we OPEN ON FRIDAY!!!!!

Can't even describe...

...how much this show is gonna blow your fucking mind...



....but it will....

(tickets are on sale now, mutherfuckers...)

1,000

Don is celebrating a milestone today. Congrats man.

I cannot imagine coming up with something coherant and worthy to say every single day. Heck, there are times when I don't post here for weeks. (Although, I've been trying to be better, at least one post a week, more if possible.)
I don't at all consider myself a writer - I'm a "jotter".
I just kind of "jot" down things going on in my life and things going on in the world around me.

I did some of that in college - I used to keep a "quote" book - and always jot down thinsg that I felt were worthy - and back in those days it was usually bawdy humour and double entendre's(sp?).

I've never kept a journal for any longer than a few months - there was usually a stopping point where I'd forget to write for a few weeks, and then there's the inevitable entry that starts "Wow - I haven't written in awhile!".

In comparison to Don, I think I've only got around 120 posts. Thats not a lot. But, it was only 75 or so 2 months or so ago, which shows I've been writing more - or rather, "jotting" more.
Most of the things I write are pretty mundane - stories about things me and Sara saw or did, shows I'm working on, shitheads on the CTA - just day to day stuff.


So how are things today?
* Sara and I have been working opposit schedules for a few days, so we haven't been seeing a lot of each other, except when we kiss goodnight.
* Metaluna rehearsals are amazing. It's the best show I've ever worked on, and I still have no idea what it's about. You're all going to love it.
* Today's CTA shit head? Today, I got a lot of ass in the face - and not in a pleasant way. Summertime sucks for close bodies on the train - smelly & sweaty - yuck.

Another mundane update tomorrow.

(oh, and Brownlee? it's your turn on Scrabulous)

Good News (for once)

Well kids, it looks like I’ll be participating in some theatre this summer – but it’ll actually be PAID theatre, will wonders never cease?
Anyway, joking aside, I’m now officially the Stage Manager for WNEP’s summer production of “Metaluna – And the Amazing Science of The Mind Revue”
My first rehearsal is tonight.

Let’s pray for non suckage on my part, shall we?

called out for calling out

So, I called out Kris Vire for his lack of a new blog for 10 days - he apologized and obliged with a new post.

Then I thought about it.... If I'm hard on others (in a vaguely stalker-ish kind of way), then I suppose I should update for my 3 readers as well. It's only fair.

"The Diviners" closed this weekend. It was the best play that no one saw. Our house were kind of lacking, but the show itself never lacked. These guys gave their all if it were 7 people or if it were 37. There were some backstage tensions during our last full production, so it was great to have a tension free run. Actors who liked each other - professionals who brought their A-game every night. And every time I listen to that soundtrack I just want to hug Joe & Steve. Should you have a chance to hire Toxic Bag Prod. to do your sound design, DO IT.

Last night I watched 'Into The Wild" finally. Cried my eyes out, I have to say. Even though I had read the book and completely knew how it was going to end. What a great performance by Emile Hirsch - he was amazing.

And lastly, had "more than 6 hours" of sleep last night for first time in about 3 weeks. It was DIVINE.

Bullets

• There was a little kid at Blue Man last night who was just jumping up and down on his seat during the finale he was so excited (there was no one behind them, so that didn't matter)Stuff like that just warms my cynical heart.
• There's a WMFA chick I work with at BMG (that's the shortened version of "wicked-mega-fuckin-awesome") who is having some health problems and is on a leave of absence. I think about her daily and I keep hoping the good mojo I keep sending her via my brainwaves is helping.
• "The Diviners" closes this weekend, so starting tonight there are only 4 more chances to see it! 312-458-9374 for reservations.
• Yesterday I got the wedding invitation for 2 of my favorite people in the whole world - it made my heart smile :)
• Sunday is the first day since Easter that I haven't had to be at either my day job, BMG, or The Diviners. Let's just say I plan on sleeping in...HEAVILY.

That's it for now I guess....

To quit or not to Quit?

There's a lot of ker-fuffle over at Don's house regarding 2 female actors who dropped out of slated shows due to being cast in "Shout! The New Mod musical". I have some pointed responses in the comments...

The bottom line (IMHO), is that regardless of whether it's a great opportunity or not, quitting a show SUCKS. Replacing an actor a week or 2 before a show opens sucks in the obvious ways (finding someone, getting them caught up with blocking, and getting them off book), but it is the UN-obvious ways that can do irreparable harm to a show.
Even losing the smallest cog in the wheel right before heading into tech week can change the emotional and psychological makeup of your cast - not to mention, your cast that is still in place will need to work even harder while you bring the new person up to speed, creating a hostile atmosphere if not handled correctly.

I understand the idea of artists having "better prospects" - but there should still be at least SOME element or respect for the dudes that cast you in the first place...

Let me tell a story... and I will humourously refer to myself in the third person. (it's long, go grab some coffee first Brownlee)

Years ago, when a wee Dianna first descended upon the Chicago Theatre scene (1999 - 2001), she had some early success working for a couple of smaller companies - she always thought herself woefully under-qualified, so she took whatever she could get. One of those was a gentlemen's handshake/agreement in earnest to stage manage a smaller company's fall & spring shows. (This is a company that no longer exists, but she still won't tell you...). Well, in the fall they produced a fairly ok version of Guare's "House of Blue Leaves". It was the first time she even read the play and she really enjoyed it - plus, the production wasn't bad. Working with the Artistic Director and Managing Director was... strange... and.... complicated....
They weren't unprofessional - but they were weird to work with. Needy and over-emotional. They both were in the show (in the leads, of course), so it created some conflict here and there.

Now, in between the Fall and Spring show for the company described above, Dianna was hired as ASM for the About Face production of Neil LaBute's "Bash: The Latterday Plays". This was (and still is) one of her most artistically satisfying production of her career.
When Bash was drawing to a close, the then-PM of About Face, Greg Copeland, told me they loved me, loved my work, and I had a great relationship with the SM (Cassie?). They wanted to hire me for their next show, "The Terrible Girls". He described the show - it sounded awesome - I was totally excited.
However, dates for the Terrible Girls fell directly in conflict with dates for "Un-Named Company"'s Spring show of "Death and The Maiden".

Herin lies the conflict (and it hurts to write in third person, so now I'll stop): I never had a contract with the other company - we always talked about it, but we just never got around to it. But I was conflicted about leaving "Death and The Maiden" to work with ABout Face. While it was an AWESOME opportunity, I was new to the city, and I was afraid of burning bridges etc..
I spoke with Greg about it, and I explained that even though I didn't have a contract, I didn't feel "right" about leaving them - Greg completely respected my decision, and that was that.

Now, before we started "Death & The Maiden", The Artistic Director told me that the Managing Director was going to direct. (and of course, AD was slated to be the female lead). I explained to the AD that the MD is very emotional and confrontational, flies of the handle, yadda yadda, and she cajoled me by saying "well, you'll only have to deal with him during rehearsal... once the show opens he'll be gone"

Let's flash forward to the Thursday or Friday before tech week. It was a rehearsal I couldn't make it to, so the Asst. Director ran the rehearsal - and I find out later that the MD/D had a SHOUTING match with the male lead, and the actor stormed off and left the rehearsal. I spoke to the AD, and she said worst case scenario is that the MD could step in and learn the role quick --- I nearly shit my pants - - the MD I don't like, that always reacts strongly to EVERYTHING - I now had the prospect of dealing with him for the additional 8 week run.... oy vey!
We convene for the Saturday afternoon rehearsal - things are going ok for awhile - and then....
ka-BLOOEY! Director and Actor start shouting at each other, and actor (rightly so) tells the director fuck you, and storms off saying "I Quit!"
The director picks up the script, jumps on stage and says "lets keep going - looks like I'm gonna have to start memorizing these now"

As I left the rehearsal, my hands were shaking and my mind was reeling - I did what all women in my family do when they are freaking out - I stopped at the store and bought a pack of cigarettes. I had a standing date to meet my friend Lisa at The Melrose Diner that evening anyway, so when I walked in and she was already at our customary booth, she waited until finishing her page she was reading to look up - and when she did and saw me frantically puffing on a cigarette, she said "holy shit - what happened?". I related the story - said I didn't think I could handle another 8 weeks of this. I told Lisa I thought I should quit. She agreed. I called the AD the next day (Sunday) and said I couldn't work with the MD anymore, and that the propect of another 8 weeks with him was enough to make me chain smoke. She tried to get me to stay - I refused. I stopped by the theatre the next day after work to drop off the keys to the space and the audio disc for the show - the AD answered the door, and the MD was in the background - he looked like he wanted to punch me in the face. I didn't care. I handed off the items and said 'see ya" and I was out of there. I never felt so free in my life.

So, 4 days later, instead of being at opening night of Death and The Maiden, I attended a preview performance of "The Terrible Girls" at About Face with Lisa. We had a LONG conversation after the fact about whether or not I should have ever gone back to the other theatre company, whether or not I should have just ACCEPTED the Terrible Girls job....
I'm still (7 years later) not sure which decision would have been right....
Would I have been happier at About Face? probably.
But I still feel I learned a valuable lesson staying with the other company - I learned how far my threshold is, what things I will and will NOT accept in a job environment, and I also learned that sometimes (regardless of the consequences) you HAVE to feel empowered enough to be able to walk out the door.

Now -
My situation was a little different than the gals involved in 'Shout", but the essense is the same....
Knowing when to quit or not...

a month? really?

Wow - I had been doing so well updating the 'ole blog. Obviously I must have fallen asleep late in the day on February 26th and I *JUST* woke up!

Lots going on....

"The Diviners" opened back on the 14th, and things are going good. The reviews are good, and the show is great, but audiences are a little thin. I think we were just dealing with that "second weekend" lull - ticket sales look good so far for this weekend. Cross your fingers that we can pay the bills.

Things are busy at Blue Man (it's GROUPS season!). Which basically means my days are filled with high school kids hopped up on sugar, who don't understand that when I say "no pictures allowed in the theatre" it actually means that you can't take your camera out and take a picture of you and your friends in the poncho. Last night, we greeted a large group, told the kids (in full view of the chaperones) they couldn't take pictures at any time. So, they go inside, show starts and my staff caught one of the adult chaperones FILMING the entire opening sequence.
oy vey.

Don't mind my bad humour - I'm currently in the middle of day 3 of my 6 day-72 hour work week - and those are just the hours I get PAID for. I also have to house manage for Diviners tonight, and that's FREE!!!!! Somebody swing by the theatre tonight and bring me a pillow!

I discovered something super cool last night - the first linking of my blog on a "non-friend" site!
Sure, Brownlee and Sara have links to me on their blogs, but they kind of have to. Sara because I live with her, and Brownlee because I'd kick his butt if he didn't.
Anyway, I digress...
I started at Don's blog, where he did a "3 things I learned the hard way" meme and tagged some folks - I follwed the tags around to other people's blogs to see how they answered it, and I finally got to Rebecca's blog from GreyZelda Theatre. I don't read her's as regularly as some of the others, but I do check in a couple of times a week. Well, I must have missed on the sidebar that she has a link to my blog! How sweet! Rebecca and I have never met (don't ya love the internet), but she seems like a real tough cookie, running her own NFP Theatre group, starting topical conversation, etc.

So, I've returned the favor ---------->
and Rebecca's blog is now listed with mine - and she should get traffic from maybe 2 more people...who are the sum total of people who read my blog!

life moves PRETTY fast

It feels like I just picked the dates for our California vacation yesterday, and here we are --- almost time to go!!!!
We leave on Saturday - we're booked on a later flight, but we're hoping to standby on an earlier one (fingers crossed). Then, we're in Cali til 2/7 -- YAY!!!!!!

It's not super hot, but mid - upper 60's is better than Chicago, thats for DAMN sure!

Our only plans so far are to relax, do some beach stuff, go to the San Diego zoo (hopefully), and I'll be watching the super bowl on this Sunday - thats it for now! We're renting a car, so we're planning to do some driving around, for sure - checking out this and that.
(I personally think it'll be hilarious to swing by where the writers are picketing and get some pics of celebs!!!! - Sara thinks I'm nuts :)

Between planning for California, and anticipating the new LOST episode tomorrow night (WOO HOO!!!!!!!), there's not much else on my mind, I guess.

There's a couple of hot theatre topics out there in the blog land, but I've been commenting on other people's blogs and not really posting here -- arguing over equity vs. non equity and such....
it hurts my head after awhile.

Preview or No-view?

There are some great blog posts out there (from yesterday and today) that are discussing the use and need for previews in theater. There's some great stuff from Rob and Kris, so go check it out.

Personally (and with SRT), I've always looked at previews more like an "invited dress". SRT has always had lower ticket cost (around 5 bucks), but since most of the audiences end up being friends and colleagues who comped in, we only make about 50 bucks at the most.

And although this has never happened, if something catastrophic were to happen, I would probably be inclined to refund money if need be.

The value that SRT gets out of it (I feel) is letting the actors get used to a non-tech-week audience. People who have NEVER seen a run of the show before, and the laughs or reactions are fresh and new - and sometimes in unexpected places (who knew they'd laugh at "x"???). This all assists the actors and the designers to help fall into the RYTHYM of the show. Pace can be the make or break part of a show, and getting a chance to test out the pace is a godsend.

Now, if someone saw an SRT preview, hated it, and then ran to their blog and posted about it - I would be SO DISSAPOINTED.... but I would have no reason to be angry about it.

By opening up for a preview, you roll your dice on the criticism.

Some folks, like the folks at GreyZelda, discuss why people use them at ALL.

Where do you fall in this discussion???