The Rorschach Theatre Blog

2011-12-16T08:41:00.000-08:00

THE BLOG HAS MOVED!

Just as we at Rorschach have moved into our new digs at the Atlas Peforming Arts Center, so too has our blog. Find blog entries HERE on our brand spanking new website!

We will keep this blog around as a historical record of Rorschach behind the scenes so you can always check back here for classics like our "get to know you" series to our audience interaction discussion. Just take a look at the posts from October 2005 and prepare to be entertained.

And check us out on our new blog.

More importantly check out our shows at the Atlas so you can see stuff like this:

2010-12-16T14:33:00.000-08:00

Klecksography 2010 VideoBlog - Come Together, Right Now, Over Meat from Dream Live Studios on Vimeo.

A video for your blogging pleasure

It is never to late to have a Happy Klecksakah!

2010-12-15T06:03:00.000-08:00

Seamus here, author of No, Batsheba, reporting from rehearsals. Quick personal note: I've known Natsu, our director, for years, since she's a professor at my alma mater, but we've never worked together as writer and director on anything. When we kicked off the project last week, I couldn't help but wonder if we were up to the challenge of turning Grace Overbeke's story into an entertaining ten-minute tale of anti-Semitic Santas and Christmas Eve grudge matches.

After the first half-hour of sitting in on last night's rehearsal, my face hurt from grinning so much, and after another half hour of watching slow-motion fisticuffs and hearing Soneyet's TERRIFYING Batman voice, my entire upper body hurt from doubling up laughing (and from eating more than my share of the delicious cookies that Karin, our host and Evil Santa extraordinaire, made for us).

Here are some reflections from the cast to tide you over until we shower you with cartoony splendor this weekend!

Soneyet: Wrapping rehearsal for the night, when your director tells you to go home and come back with an even sillier face...you love your life!

Karin: Did you know that Santa Klaus is antisemitic, a martial arts champ and has certain food allergies?

More secrets to be revealed in No, Bathseba!

My dad is way cooler than your dad & our Christmas adventure kicks your Christmas adventure’s face in.– Love, Batsheba O’Malley-Hirschberger

Klecksing all the way!

2010-12-15T04:53:00.000-08:00

My parents created so many lasting traditions in my family. I will never forget the Christmas routine, a routine that I still follow to this day, every time I am home for the holiday. I know that on Christmas Eve I will go to church with my parents (the only day out of the year that I attend church services) and that the church will be packed with families. My parents and I still attend the children’s service full of children and complete with a live nativity. I know that no matter how old I get, I will still laugh every time the camel pees on the altar. I know that when we arrive home, we will sit together and eat and drink coffee. This ends in the unwrapping of one gift. I know it will be pajamas, always pajamas to wear for the night. When I wake I will eat breakfast and gift opening will begin shortly after. After gifts are open and bellies are full, we get ready to go to my grandparent’s house where another set of rituals and traditions will take place. There is comfort in tradition. Comfort in the knowing of what will happen next. I don’t know what will happen to these traditions after my parents are gone. Will my brother and sisters continue the traditions that our parents create for us or will we create traditions with our new families? Slowly growing apart as our traditions break down.

As I sit and think about our play for Klecksography, I cannot help, but to be reminded of family during the holiday seasons. No matter what your faith is, it seems that holidays are filled with families, the ones we are born into and the ones we create. During rehearsal, many conversations came up about family traditions around the holidays. No matter how old we get, it seems that when we are at home for the holidays, we fall back into the same patterns and customs as when were children. Siblings bicker and fight and arguments are to be had. Memories from holidays past are brought up and reminisced on. This falling back to an older time is what can make bringing a guest to a family holiday all the more awkward. Having to constantly catch up someone who is not used to your family or not aware of certain “family rules” can often feel out of place or placed into the position of “outsider” not matter how hard people try to make them feel welcome.

Our play centers on this idea of connection. How do we connect, both literally and metaphorically? How do we integrate an outsider into long held holiday traditions? And more importantly, how do we connect to our family after the loss of a loved on?

This will be the 2^nd holiday that I have worked on a Rorschach Holiday show and it is always fun to rehearse and share in the holiday joy with fellow artists. Here are some photos of us in rehearsal. Enjoy.

-Matt

Grady's Klesksography challenge

2010-12-14T10:53:00.000-08:00

Hey kids,

So rehearsal has begun for Full Disclosure, the pop'n, hip, socially over-aware quasi-comedy from Rorschach Company member Jason Linkins. As to keep it's subject a secret there will be little disclosed here, but I will reveal that the piece has gone through 4 drafts, two table reads, and has been blocked despite not having it's central character for the first rehearsal.

The name Klecksography continues to be impossible for me to pronounce. This is disconcerting for me as I have not only 3 years of German, but 4 years of Latin, so a simple combination word like Klecksography should be a no-brainer for me. Lets just say, I'm glad you didn't have to pronounce the words in the SAT vocab section.

I will be working on this pronunciation though the week, I have even typed into a spell and speak, but this does not seem solve the issue. I'd say keep up with my progress on facebook – but I don't acknowledge facebook as a legitimate vehicle for social interaction, so you'll just have to find me and ASK. (and in case your wondering, yes that means i am not on facebook, thank you.)

Grady Weatherford

Director, Full Disclosure

Merry Klecksing

2010-12-14T07:39:00.000-08:00

Hello interneters,

Gearing up for the weekend? I know it is only Tuesday. But there is snow on the ground and the temp is 25. Clo enough to think about your next day off.

Here are some seasonal thoughts from Misty Demory. More blogging later, but for now, snuggle up, keep warm and get your tickets for Klecksography.

Best,

Catherine

Since the 1930's children have left cookies and milk out on a table for Santa on Christmas Eve. It is thought that the idea to leave them out may have sprung from parents wanting to encourage their children to give/share during the great depression. The Oreo is the most popular cookie left out for Santa Claus. No matter what the reason, or why it started, cookies made, eaten, shared, or thrown at people on Christmas Eve are one tradition I hope never goes away.

I ‘klecks, do you?

2010-12-06T15:42:00.000-08:00

I try not to make bold statements in public, because I usually end up looking like a jackass. I’ve learned from experience. I like to hang back and then
make snarky comments about others’ ideas. But I am going to go out on a limb on this one, that’s how much I believe in it. It’s time to ‘klecks.’ What is
klecks, you ask? Klecks is a new slang term for the new millennium. It will replace all those other tired slang terms like “phat,” “sweet,” and “groovy.” Not
that anyone still says groovy. It’s a noun, verb, and adjective all stuffed into one enigmatic package. Now, I’ve learned from my German friends that
‘klecks’ is an actual word in their native language that means, blob, blot, dab, smudge, blotch or stain in mine. But words are slippery, they change their
meanings all the time. Take ‘culture,’ for example: a hundred years or so ago culture meant to plant seeds. So, with your help, we can culture klecks in
our culture. Are we klecks?

James Hesla, Playwright

Klecksography: Home for the Holidays, coming December 18th & 19th @ Mead Theatre Lab at Flashpoint. Tickets are on sale now.

Climbing the Fourth Wall

2010-10-13T17:12:00.000-07:00

This morning I posted a piece that Washington Post Theatre Critic Peter Mark wrote for Arts Post about audience interaction. It spawned a really interesting discussion on Facebook. I thought it was worth posting here so others could catch up, chime in, or just check out some of the other great articles people linked to within the conversation. Have more to say on the subject? Feel free to share it in the comments below.

--JMcFred

Jenny McConnell Frederick I'm with Peter. If I wanted to be in the play, I'd be an actor. At Rorschach, there's more than one way around that 4th wall: http://ht.ly/2SPTh

Arts Post - A theatrical manifesto: hands off the audience!

Michael Glenn Then what's the point of seeing a play? Why not just rent the movie?

William Aitken I agree with Peter on this one. I dont go to the theater to be brought up on stage. When I want to be on stage I audition.

Jenny McConnell Frederick b/c I believe it's possible to be totally invested and engaged in a live experience without physically being asked to participate. And I think in many cases, that forced interaction has the opposite effect--taking people out of the experience they were invested in.

Elissa Goetschius Hmmm... Where did I just read this? Oh, right! The NY Times! http://artsbeat.blogs.nytimes.com/2010/10/07/theater-talkback-from-seat-to-stage/?ref=theater

Sara Barker in total agreement . . . there are people for whom a night at the theatre can be a wonderful entry into a vivid and exciting world and who, when approached like that from an actor, feel assaulted and undone. It's about respect. Perhaps, if a play is written with audience interaction, there can be a warning or a designated area for those who are interested in it to sit themselves . . .

Jenny McConnell Frederick yeah, Elissa--that piece covers a lot of what i'm talking about, and you're right Sara...having a clear contract with the audience upfront seem like it goes a long way in earning their trust. It seems like we as artists could think more deeply about how to gain the investment of our audiences without insisting on their participation.

Michael Grew While PM paints with way too broad a brush, there's plenty of times this kind of thing hasn't worked for me at all. I think it generally stems from whether it's being done for the play or for the audience; when the interaction stems from the production wanting to make the audience uncomfortable or thinking it'll make them pay more attention, I think it's obvious and comes off as forced.

As a sidenote, one of the things I absolutely hate most in the world is when anyone pulls that "Good morning!...Let's try that again, GOOD MORNING! That's better." bullshit.

Deborah Randall What is the job of the critic, though? Is it to define how theatre should be interpreted as a noun or is it to review the work at hand?

Jonathon Church I am surprised that so many of you don't understand audience interaction. I agree with Mark K in the comments, it's about timing and execution. Theatre for young audiences, for example, is helped by interaction. The kids know that they can take part in this live event and be as big a deal as the performers that everybody else is watching. It makes it exciting and memorable, and draws a sharp distinction between fun, vital, interactive and experiential theatre and stuffy old museum plays where everybody sits quiet and learns something, or else! Shakespearean audiences were routinely brought into the action to keep the play vital and engaging. ASC routinely uses this style and I performed with it for two years, visibly delighting probably 90% of the audiences I personally talked to, touched, questioned, and hid behind. Occasionally it went wrong, or the audience member didn't want to be involved, but most of the audiences, young and old, were familiar with our style and jostled to be down front and part of the action.

Like the time the whip got caught in the grid in a production Marat/Sade at Forum theatre, audiences love to be there on the night something unique happens. A mistake, an improv, a grumpy theatre critic crying about his stolen notepad, it reinforces the live and ephemeral nature of theatre. Seriously, sit home and watch a movie and lock all your doors if you don't want to interact with people. Get on your computer and click away. Stare at the floor in an elevator ride. But don't go to the theatre. Those are real live human beings telling a story, and sometimes that story needs to reach out and touch people, to break that forth wall, to make people realize that yes we can hear your cell phone and yes we see you texting, and yes we are doing something here and if you can let yourself be part of the moment, something wonderful and adrenaline filled might be coming at you or your neighbors at any second. We aren't going to press pause on this story so you can go tinkle, it's living and breathing and you better pay attention. We are going to bring it home to you if that's what we think needs to be done and it serves the play. Is it right for Death of a Salesman? Probably not. But Caucasian Chalk Circle or Mother Courage, Richard III or Midsummer Night's Dream? You bet. You over here, and us over there, doesn't bring the audience into the action and sometimes that is what is required. Sometimes all you need is thrust, or in the round, staging for the audience to 'get it'. And sometimes you can go a little farther. Sometimes it can only detract and you are better off with fourth wall and proscenium intact.

Audience interaction is a tool of the theatre professional, and like any other tool, it's not required every time and it's misuse can look pretty terrible. But it shouldn't be completely discarded as the article, and many of these comments, suggest. I suggest any of you who don't want to be jostled or recognized during your time in the audience just sit in the back, or better yet, in the lobby, watching on the monitor.

I can't wait till next week when Petermarks wants strict rules on making eye contact with the audience (Richard III was looking at my wife!), salad sneeze guards for the lip of the stage(those actors spit when they talk!), and lip synced performances (he didn't use the exact words in the text I have on my lap!). It's sad that this reputable critic doesn't get it, but it explains a bit about his reviews.

Jenny McConnell Frederick Audience engagement has its place and a lot of valid uses. And I saw some ASC shows when I was younger, and they're really great at what they do. And it truly works in a really powerful way. I get that, but it needs to be used judiciously and with purpose. For ASC and their mission, it makes sense.

I would argue that not everyone who's dragging the audience out of their seats has such a clear need for that kind of interaction in order to communicate their story.

I think it's hard for any of us who make a living in live theater to be objective about what impact audience interaction has on those who appreciate and support the work, but for whom theatre is not a way of life. Should the audience experience be our number one priority?--debatable. But is it worthy of consideration?--absolutely.

There are so many amazing things about the live experience--you mention a lot of them, Jonathan--the cell phone ringing, the unexpected experiences--the audience is by definition interacting with the work in live theatre. There's a wide range of possibility that exists between staying at home in front of your DVR and being pulled up on stage to perform for a crowd. I think we can have more faith in our medium to do what it does best.

Yasmin Tuazon I'm totally behind audience interaction/involvement if it fits the action or style of performance. If done right, it can be a very inclusive & connecting experience. (I think particularly of the way "Memoria Brassica" worked at the Source Festival.) There's also a difference between interacting with an audience and expecting them to participate.

The performer/audience relationship needs to be cultivated like any other. Boundaries & expectations need to be established. Performers need to (a) create a safe space for the audience, and (b) be savvy enough to involve only those who are game.

For performances where the goal is not audience comfort - that is fair game too. Most shows like this don't hide it, and I believe there's a certain "buyer beware" implicit.

At the end of the day, if the reason for the performer/audience relationship is clear and substantial, it can make for good theater. Otherwise, it's just another convention that, misused, can bore or annoy.

Jonathon Church Well, the extreme version of this where audience members are actually pulled up on stage is not something to take lightly, as you suggest. In my experience, it works best when you've kept it light, brief and them in the seats, looking for your eventual scene partner and not just diving in before gauging someone's openness to the moment. It gives them a chance to get used to it, and to telegraph their feelings about it. If they don't make eye contact, move on. If they look uncomfortable or embarrassed, move on(hopefully thanking/apologizing to them verbally or otherwise). Your enthusiastic audience members will be apparent after just a few brief asides and a small bit of eye contact. Sometimes your most enthusiastic audience members can be the last ones you want on stage, as they have their own idea about what's going to happen next.

I would agree that not everybody who is doing this is doing it right or needs to be doing it. That can apply to any area of theatre though. Petermarks seems to suggest that it is all bad because he doesn't want it or has had bad experiences. Everybody has their opinion. His is louder than most. But no matter who suggested it, would we as quickly get rid of the use of footlights, stage makeup, strobes, smoking, stage combat, or any number of things which when done poorly make the whole enterprise look bad or the audience feel uncomfortable?

I think we can have "more faith in our medium to do what it does best" by understanding in the first place what we are trying to do. Our medium is a wide and varied place with a variety of skill levels, training and subscribers/audience expectation. Let's not decide to only do modern plays because some inexperienced high schoolers did Julius Caesar poorly, for instance.

I find it surprising that Peter Marks doesn't seem to see this distinction or has never seen audience interaction work. The fact that the denizens of the Zinoplex may have been wholly unprepared and resistant to it is not surprising though.

I wonder what you are hinting at about Rorschach's way around that fourth wall. Other than non-traditional spaces, I can't recall anything too fourth wall breaking in past productions. Performing in a fountain or a greenhouse or a metro is non-traditional, performing in an arts complex blackbox in the round isn't so much. You just change the shape and location of the fourth wall.

Des Kennedy what a great discussion! Well done Jenny (and Peter). here is an interesting article from this side of the pond...

http://www.guardian.co.uk/stage/theatreblog/2010/feb/28/interactive-theatre-connected-coney-lift

Joel Reuben Ganz There are clearly Many different angles on this argument. And both sides have valid concerns. the use of audience interaction can be a powerful tool, or a distraction from what you are trying to accomplish. But it certainly depends on What the objective of the piece is, and then How one employs the technique/s of breaking the 4th wall.

P.Marks simplistic and reactionary article is one sided, unevaluative, and dismissive of what can be a powerful and useful technique in theatre. If all art and theatre are presented in ONE way, is that art? and if audiences are Always allowed their safe space, are artists doing their jobs?

Jenny McConnell Frederick

With regard to Rorschach, my comment was an admittedly oblique reference to conversations we've had internally about the future of the company. Less a reference to our past work--though I'd say we're pretty consistent about not asking our audiences to perform for us.

That being said, in this thread (and others about this article from Peter), it seems many are affronted by his post. Correct me if I'm wrong, but the piece is a blog post--a vent, a rant even, about an accumulation of recent personal experiences as an audience member. I seriously doubt that Peter truly thinks all kinds of audience interaction should be banned. I take it less as an insult from the Washington Post critic, and more as a compelling launching point for a really valid conversation.

The article Des just posted has a lot of good examples. There are a lot of amazing things happening right now. Anyone who's been within feet of me in the last six months has heard me extolling the amazing experience I had at SLEEP NO MORE this winter. And that piece is actually a great example one way that an audience experience can be totally interactive--the audience is throughly submerged in the experience, but is virtually never called upon to perform. And that for me, is an important distinction.

Joel Reuben Ganz

I think that Peter's article, even considered as a "provocation"(which is a great way to inspire dialogue about art and How we do what we do), is a bit short sighted.
Even in Blog format, one would expect The main theatre critic in our area to seek to present an argument that has balance and creates the space for a discussion, such as the one that many of us are engaging in here.
it would be great to think that he would be involved in this discussion.

alas, as with a lot of the reviews he writes, i find it lacking in perspective and evaluative thought.

as the head of a fantastic company that has always worked to examine the bounds of theatre and presentation, i'm aware that you are open to these experiments, and see the validity in all sides.

this discussion is good fun.
and i also enjoyed Des' link very much. i've read a bunch about the theatre in London and what they are playing with in this regard.

Matthew Frederick And I wonder what Jonathan is hinting at when he says that someone who has a different opinion of audience interaction doesn't understand it. Perhaps you can explain to me why my interaction should end once you've "invited" me onstage. At that point I'm part of the show and I assume my actions aren't scripted. Or are we still talking about children's theatre?

Jonathon Church I don't think I understand what you are saying in your final two sentences, Matt. I don't think that someone who has a different opinion of it doesn't understand, I think that anybody who has the opinion that it should be stopped, always and forever in every case, doesn't understand. And I think your interaction should *begin* once I've "invited" you to be onstage, not end.

Matthew Frederick And that certainly could be unpredictable depending on what sort of audience member/performer shows up that night.

Jonathon Church Yeah! And that is exhilarating.

Wyckham Avery this sounds like every production meeting at dog & pony dc... We like to call what we do "audience integration" because we too kinda hate the idea of being *pulled* on to stage, we do however love the idea of being *invited* in to the play somehow. Too often, as an audience member I am freaking BORED because I feel like the playmakers forgot there was an audience. So, basically I am saying "you're all pretty" or really, I think you are all correct. Live theatre should be alive and connecting with the audience and we as makers of this art should step up and find out how we do it, and not just assume the audience will like it cuz we worked wicked hard on it. Damn you Peter Marks for making us have a great conversation on FB!!

Rachel Grossman So thrilled to read eveyone's comments here. A parallel, separate but similar conversation engaged over my posting as well. Thanks Jenny and all for tackling this topic so awesomely. Giving me tons to think on.

Inside Klecksography

2010-09-05T13:00:00.000-07:00

For those of you who want a closer look at Sunday, September 5th's KLECKSOGRAPHY here's a little behind the scenes action:

Check out the program here.

Read all four scripts here:

Technical Difficulties by Randy Baker (or The Inciting Incidents)

The Package by Allyson Currin

Feet Forward by Anne M. McCaw

Mass Times Motion by James Heslas

Klecksography....

2010-09-05T07:13:00.000-07:00

Want to know more about Klecksography?

Check back here after 4PM, September 5th.

H.R. Zurich: A visionary given voice

2010-09-03T09:13:00.000-07:00

In preperation for our performance of Klecksography by H.R. Zurich at the Kennedy Center's Page to Stage this Sunday, we thought we would tell you a little more about the playwright who made this all possible. Below is some terrific research and dramaturgy by Allyson Currin.

Don't miss the performance of H.R. Zurich's forgotten gem on Sunday, September 5 at 230pm at the Millenium Stage in the Kennedy Center. The play is newly adapted and researched by a team of Rorschach Playwrights, Directors and Actors:

Katie Atkinson, Randy Baker, David Bobb, Vanessa Bradchulis, Allyson Currin, Misty Demory, Jenny McConnell Frederick, Laura C. Harris, James Hesla, Lee Liebeskind, Emily Levin, Anne McCaw, Aviva Pressman, Debra K. Sivigny, Hunter Styles, Catherine Tripp, Yasmin Tuazon and Stacy Wilson.

**********************************************************************************

Heinrich Reinhold Zurich, one of the most influential and prolific German playwrights and poets of the late 19th and early 20th centuries, is ironically rarely produced today in America.
He was born in Freibourg in 1867 to a distinguished jurist father and concert-pianist mother.

After taking degrees in law and linguistics at the University at Heidelberg, he was just settling into a distinguished but unremarkable career as a barrister when he saw a performance of "Der Fleidermeister" by the experimental theatre troupe, The Rhineland Three. The power of that single performance, no record of which survives, caused him to abandon his career and make a profound and irreversible turn to the theatre, in which he enjoyed near instant critical acclaim (although his audiences claimed that his more experimental efforts well-nigh incomprehensible).

An early acolyte of Freud, Zurich's plays examined the complexities of human psychological attachment in such works as "Symmetry Skewed", "The Tyrant of Stuttgard" and "The Bastard and the Bumblebee". His works premiered principally at the extravagantly expressionistic Berliner Stage, the principal rival of what was soon to become Bertolt Brecht's Berliner Ensemble. Zurich, largely underwritten by his parents' generous bequests to him, also held salons in his Berlin home that were attended by virtually every shining intellect in Germany: his guests included Strindberg, Max Reinhardt, Fritz Lang and Isadora Duncan.

He was not without his critics. The French symbolist Jacques Dernaux led a protest against Zurich's politically-charged play "Not Without Fear" in 1915, and the pamphlet that Zurich published in response to these protests was Tristan Tzara's inspiration (or so he claimed) for the first efforts of the Dada movement after the war.

The Weimar years were not kind to Zurich and he went into a spiritual and creative decline. All of his writing for the stage ceased, replaced by poetry that was not particularly well-received. With his growing obsession with German nationalism and his increasing attachment to the philosophies of Martin Heidegger, he undoubtedly would have applauded the Nazi rise to power had he not died in 1931 in an apparent suicide. His wife, the famed German actress Freida Gottshched, was largely responsible for preserving his works and his reputation subsequent to his demise.

It is our great honor to bring his unique voice and compelling perspective back to an American audience.

Countdown T-minus 7 days...

2010-02-20T10:30:00.000-08:00

Today's blog entry features a post from Event Coordinator, Deb Sivigny!

One of the many awesome things about hosting Rorschach: X is working with the many generous vendors and businesses that donate goods and services.

One of our silent auction sponsors was just featured in the Washington Post Magazine.

Lilly's Closet is a wardrobe styling firm created by Margaret Lilly. She is a styling goddess that will transform your look from average to amazing!
You'll have a chance to bid for her services at Rorschach: X on Saturday night!

Buy those tickets now, folks!

Ok...so what's the deal with this Pay-What-You-Can Benefit?

2010-02-12T06:43:00.001-08:00

As you may have heard (below...), Rorschach has a big milestone this year--our 10th Anniversary. So in honor of that we're throwing one incredible party on Saturday February 27th. For all the party details click here or check back on the blog in the coming weeks for more inside scoop.

Today, we want to tell you a little bit about this pay-what-you-can business. When it comes to productions most of you are probably familiar with the concept (or can deduce the meaning of tiny words even when strung together with dashes...). But a PWYC benefit is a little more rare. Naturally, benefits are fundraisers (no surprise there...) and they're a great way to throw a huge celebration, spend quality time with our nearest and dearest and raise much needed funds for our organization...

...so with that last goal in mind, we know what you're thinking: "How on earth can you make any money at all letting people do whatever they want?! Has the snow gone to your heads people? Have we declared marshall law?!"

Well, the answer is no, we haven't lost our minds. We know that the Rorschach family (that's you guys...) is made up of all kinds of people, so we're giving you lots of options.

What do all these options mean for me, you ask?

Here's the scoop:

The $50 Ticket This is the official regular ticket price. A $50 ticket covers the basic per person party costs + a small donation to the organization. (For those of you in-the-know with your tax deductions that's $20 tax-deductible.)

The $30 Ticket This is our budget option. It covers the basic per person costs, but doesn't come with a tax-deductible contribution. If you want to join us, we'd simply love to have you.

The $75 & $100 Tickets These are our generous supporter options. If you're able to support us on this level, we're incredibly grateful. (And you'll get credit for a tax-deductible contribution in the amount of $45 or $70 respectively.) There's no VIP seating or top-shelf bar at this level, but we can guarantee you a fantastic party and the deepest appreciation and admiration of the entire Rorschach tribe.

What if I love you guys, but have other plans for February 27th?

Just click here to make a fully tax-deductible contribution of any amount.

As always, if you have questions you can always reach us at info@rorschachtheatre.com

We can't wait to see you all!!

RORSCHACH: X

2010-02-10T07:52:00.000-08:00

A Benefit Bash for Rorschach Theatre's 10th Season

Saturday, February 27, 2010 7:30pm
ICON: 1821 14th Street
(2 blocks from U Street Metro Stop)

TICKETS ON SALE NOW!
CLICK HERE
or call 1-800-494-TIXS

On Saturday, February 27, 2010, at 7:30PM, Rorschach: X will bring Rorschach’s innovation to ICON on 14th Street as the inventive, immersive theatre company celebrates its annual fundraising benefit. The store’s sleek and modern aesthetic will provide a unique backdrop for an unforgettable evening featuring entertainment, a silent auction and the opportunity to mingle with Rorschach Theatre’s artists, patrons and fans. The silent auction will feature treats and treasures from all sorts of Washington hot spots--Anthropologie, Teaism, DC United, Lilly’s Closet, Landmark Theatres and others.

Always on the cutting edge, Rorschach is pioneering the pay-what-you-can benefit in Washington. The suggested price of admission to Rorschach: X is $50 which includes an open bar, light snacks & desserts, music, dancing and the company of some of DC most exciting theatre artists. For those who want to share in the fun but are working on a fixed budget the minimum price is $30 per person. Generous guests are encouraged to consider a ticket of $75 or $100.

To buy your tickets now, CLICK HERE!

Rorschach would like to thank the sponsors of Rorschach: X: Magic Hat Brewery, Dogfish Head Brewery, Honest Tea, Whole Foods, Garden District, Patty Boom Boom, Commonwealth Gastropub, Total Wine and Dolcezza Artisinal Gelato.

Living Dead: Now in 3-D

2009-08-18T13:47:00.000-07:00

I don't think we ever shared the video trailer for LIVING DEAD IN DENMARK with our blog readers. Check it out below. Thanks to Lee Liebiskind and Grady Weatherford for their awesome camera work and editing.

Remember, there's only ONE MORE WEEKEND... so get your tickets now by clicking here and find out more about the show by clicking here.

Blogging in hell...

2009-08-16T20:16:00.000-07:00

We're coming to you tonight, live blogging from Haydees in mount pleasant. Over the green margaritas and tastey burritos we're rehashing the wonders of our mythic night. Luquecious Grote, combative Callaghan, infernal Baker and bloody bloody Nguyen brought us four world premiere 15 minute epics with more stage combat, original music and creepy mask work in one night than you get at most theatres in a whole season.

Randy's Geeking out on sandman here so i can't get him to chime in but Monalisa would like to say "f$&k you Danny!" and then to say just how much she enjoyed working on the LIVING DEAD IN DENMARK set.

Catherine and Akiva are having a conversation that's probably not blog appropriate, but we're all really sorry that Akiva fell down on the job.

In entirely unrelated news just for the record--the RT Matchmaking service is still in full swing--even branching into a new demographic this summer. Hooray!

MYTHappropriationVI: Day 4: Beowulf, Tarantino and Gobots

2009-08-14T08:31:00.000-07:00

You may notice that there was no posting for Day 3. Well we're non-linear and that's just how we roll.

It's an exciting weekend at Rorschach...

1) Last weekend for DEAD CITY - only 3 shows remain of Sheila Callaghan's remarkable, electric play. Don't miss this show...
2) It's zombie night night tonight for LIVING DEAD - come dressed as a zombie and get five bucks off your ticket!
3) And of course 2 showings of MYTH APPROPRIATION: 15-minute epics. Beowulf meets Tarantino, The Mahabharata meets punk rock, the gates of hell open on earth. You can get your tickets to MYTHap and all our shows by clicking here now.

But for now, let's have Yasmin Tuazon release her inner blogger. Yasmin - Rorschach company member, Scheherezade in 1001, and cast member in RESEVOIR WULFS, Qui Nguyen's adaptation of BEOWULF, just one of the 5 plays premiering in MYTHappropriation this Sunday...

****************

Greetings from a holding cell someplace in southern California. The Feds won't really specify where we are.

Let me say - and I know this is a controversial issue in contemporary American theater - that every rehearsal process should include some Tarantino. Qui Nguyen, author of the zombie-tastic Living Dead in Denmark (still running thru Aug. 23), has filled a longstanding hungry void in theater with his mini-epic, Reservoir Wulfs.

Because who was the biggest bad-ass of the mead hall? You bet your Fruit Brute that it was Beowulf. Picture it. Some wannabe gangster - calls himself Grendel - busts into your syndicate and starts eating your men. And I'm not metaphorical here. Literally. Eating. Your men. Now these were the days before the semi-automatic weapon, so typical defense protocols of the time were not equipped to deal with a monster who eats motherfuckers. They had to call in a specialist.

Enter Beowulf, with a sword worthy of Hattori Hanzo and the skills to back it up. Someone willing to go medieval on Grendel's ass, before the Middle Ages even existed, and tear off Grendel's arm. (This isn't confirmed in the actual text, but they say that Beowulf took the arm home, hung it over his entertainment system and used it to display hunting knives.) Someone willing to go to the bottom of a lake and behead Grendel's mom. Shit that makes the Yakuzi syndicate and the Crazy 88s look like a cupcake party.

Now if you were to look to who produces the Beowulfs and revenge epics of today, it's Quentin Tarantino. But as we know, bad-ass is not just something you put on like a pair of bedroom slippers. It's a way of life. So director Akiva Fox could have been content to let us watch some clips of Kill Bill , Reservoir Dogs , Pulp Fiction and Jackie Brown on YouTube. No. That's not Akiva's style. I saw him shoot three dudes in the face on the way to rehearsal. If we were gonna do this thing, we were gonna do it.

We started with a taste of Reservoir Dogs, which serves as the main inspiration for Qui's masterpiece, and cut up some poor schmuck to a soul-stirring classic in an empty warehouse. Except in the spirit of Beowulf, we cut off his arm as well as his ear. Then we took him to the bottom of a lake and cut off his head. Let me tell you, wielding knives in water is not easy. But body disposal and evidence removal, supremely efficient. The real Wolf (aka Harvey Keitel in Pulp Fiction) would have been proud.

Then we went for breakfast. I had pancakes. Cesar had eggs over easy, turkey sausage and biscuits. Jenna had creamed chipped beef on wheat toast. Akiva had the Greek omelet special with home fries. We talked some shit and tried to feel good about our work. But somehow, we were unsatisfied.

That was when Akiva realized - and this is why he's the director - we were going through the motions of some bad-ass shit without capturing the inner lives of the characters. That's why the dialogue sounded flat as we tore that dude up. And thus, we all embarked upon what I suppose you would call - a spiritual quest.
Jenna Sokolowski, aka Sister Girl, is in Japan on a samurai sword/motorcycle intensive. She has to slice her way back to the States. Last I heard, she'd gotten through Osaka. She recommends the yakitori there.

Cesar Guadamuz, aka Mister Mister, is running some unspecified, um, business out of a dive bar in Nevada. But the last message he left was something about having pissed off the leader of a cocaine ring, and he was on his way to "sort some shit out," along with the address of a storage unit in case we don't hear from him within 72 hours.

I, your Lady Hotness, was on my way back from my third - yes, third - run of gun money from Cabo to LAX. Viva Aeromexico. Please fasten your seatbelts and I will be around shortly with a selection of soft drinks. But damned if they didn't get me in customs.

And Akiva, aka The Director, is procuring an impressive selection of first edition Go-Bots. As impressive as Go-Bots can be, anyway. [EDITOR: for Gobots reference, see video below]

So who knows if any of us will actually make it back for the performance on Sunday night. But if we do, there's gonna be blood, it's gonna be bad-ass, and we're gonna inner life the shit out of it.

MYTHappropriationVI: Day 2: Love, War and a blue Karl Miller

2009-08-12T12:05:00.001-07:00

MYTHappropriation VI is in full swing with rehearsals happening throughout the city. All in preparation for the big night Sunday when we unleash these world premieres on the world. With plays by Jason Grote, Sheila Callaghan, Qui Nguyen, Randy Baker and Brett Abelman, you will not be disappointed.

Guest Blogger Catherine Tripp joins us today. She is directing MAHABHRATA: A LOVE STORY, Sheila Callaghan's 15-minute adaptation of the great Indian Epic, The Mahabhrata.
Get your tickets NOW and don't miss a minute of this remarkable event.

And if you're in the mood for more Sheila Callaghan, don't miss DEAD CITY, just about to begin its final weekend.

************

Hey there blog readers,

Catherine Tripp here to tell you about the exciting first rehearsal of The Mahabharata: A love story. It was so much fun that I clearly forgot to blog on time. However It stars the amazing talents of Karl Miller, Monalisa Arias and Danny Rivera. Karl is playing the blue God himself Krishna and Monalisa and Danny play two cousins out for blood.

We spent most of our first rehearsal figuring out the percussion section and the very long fight sequence. With a little creepy mask work thrown in for good measure. The story is one of love and war and the part the Gods play. (or it is just a crazy kick ass 15 minutes of fun) My talented cast has drummed their way into my heart as I have no doubt that they will drum their way into yours on Sunday night. While I don't have any pictures of Karl Krishna Vishnu, please enjoy the picture of Krishna at war. And please come to see Myth Appropriations VI.

1001: Big in Tehran

2009-08-12T07:55:00.000-07:00

During the run of 1001 Jason Grote and I did an interview for the persian edition of Voice of America. Through the power of youtube, all of you can share the program that played througout Iran and the persian speaking world...

MYTHappropriationVI: Day 1: Cheese, Grapes, Oreos and Epic Love

2009-08-11T05:12:00.000-07:00

MYTHappropriationVI is here! And guest Blogger Megan Reichelt is here to tell you about our first day... Megan is one of the actors in the Divine Comedy adaptation, directed by Jenny McConnell Frederick and written by yours truly.

Sunday, August 16 the whole thing goes up with world premiere plays from Jason Grote, Sheila Callaghan and Qui Nguyen! Also featured is the afforementioned play by myself and the winner of the Audience Choice Award from Sunday's MYTHappropriation V!

So get your tickets now for MYTHappropriation: 15-minute epics! And if you haven't seen Sheila Callaghan's DEAD CITY, this weekend is YOUR LAST CHANCE. You don't want to miss this remarkable play.

I now give over the reins to Megan...

********

We had a fantastic first read! We gathered in the Divine Theatre, munching the theatre artist's staple foods (Cheese, Grapes, and Oreos) in the shadow of the Magic-Lantern-Like New York City set. This MythApp takes actors, directors, and WRITERS (!) from this season and shoves them off on an Epic journey through danger, hardships, and wonders to explore the mystical land of... well, Epics!

And let me tell you, each of these plays were Epic in different ways. Jason Grote's (1001) play about the Aeneid was Epic in labyrinthine oration. A feat of vocal prowess by Scott McCormick! Shiela Callaghan's (Dead City) piece was Epic in her use of the actor's talents! Every single one of the special skills they listed on their information sheets (including "creepy mask work") are used in her home version of the familial battles in the Mahabharata. Randy Baker (Artistic Director of Rorschach) shifted the camera of The Divine Comedy to focus less on Dante, and more on another, grander story of 1/3 of a canine's Epic journey to reunite lost love and un-destroy the world. Qui Nguyen (Living Dead in Denmark) lived up to all expectations in dishing up some Epic Beowulf violence.... Tarentino Style. Finally, the winner of last week's Myth Appropriations V Audience Pick fit right at home with the rest of the Epics as Brett Abelman pieced together hundreds of stories (while incorporating every theme of this mythapp AND last mythapp AND the current season) to form his version of Sinbad's journey (and his quarrel with an old man and his fight with monkeys, and possibly his encounter with a giant egg).

We then broke off into different groups, with our provisions of cheese, grapes, and Oreos, each setting out on our own epic journeys into the particular mystery that was our play. All in all, a very exciting night, which ended appropriately and epically, with thunder and lighting.

On a personal note: I get to sing!!

Epic Love,

Megan Reichelt

And The Winner Is...

2009-08-10T14:08:00.000-07:00

Last Night's Myth-Appropriation Round V included a brand new component--The Audience Choice Award. 100+ Audience members used Rorschach's state-of-the-art, tamper-proof cup system to vote for their favorite play of the evening.

Voting results were tabulated and varified by the firm of Tuazon & Tuazon. Garnering nearly 1/3 of the audience vote was The Old Man of The Sea of Stories written by Brett Abelman and directed by Lean Hamos. This one-week-old wonder will be remouted this Sunday at Myth-Appropriation VI along with world premiere plays by Jason Grote, Sheila Callaghan, Qui Nguyen and Randy Baker.

In addition to the Audience Choice Award, your friends here at the RT Blog have also awarded some superlatives to this fantastic crop of new plays havested on Sunday night. (...wow, farm imagery...don't see that here too often.)

PLAY MOST LIKELY TO BE SUBTITLED "Too Soon?"
Colin Hovde's The Robot's Possession

BEST USE OF A ZOMBIE MONKEY

Brett Abelman's The Old Man of The Sea of Stories

BEST LIVE BURIAL
John Newman's Pagans & Primatives

THE GREAT MILFs IN HISTORY AWARD GOES TO...

Stephen Spotswood's Sailors, Sorcery & Soccer Moms

BEST ADAPTATION OF THE AMY WINEHOUSE STORY
Shaun Raviv's You'd Can't Forget A Tree

BEST USE OF SPECIAL EFFECTS

Seamus Sullivan's Love & Theft

Huge congrats to everyone involved and to a big thanks to all of you who came to check them out.

MYTHappropriationV: Day 6: Ali Baba meets the Cohen Brothers

2009-08-09T09:39:00.000-07:00

TONIGHT! at 6pm and 8pm! There will be zombies. There will be monkeys. There will be Robots. You don't want to miss a minute of MYTHappropriation: Tales from the Edge of the World. Get your tickets here!

But before you do, lets check in with our last group of MYTHap-ers and hear from guest blogger Seamus Sullivan, the writer of LOVE & THEFT. With his play Seamus is bringing a little bit of Cohen Brothers to Rorschach. Ya gotta check it out. If for nothing else than to see what grisly things backyard grills can be used for...

*********
If my experience was typical, my generation's exposure to Ali Baba was filtered through Disney's Aladdin and an old episode of Wishbone and perhaps the occasional children's book. These versions of the story, intended as they are for kids, generally deliver their share of "open sesames" but skimp on the greed, vendettas and cold-blooded mass slaughter that keep the original tale spookily relevant.

Here's a short refresher: Ali Baba, kicked out of the family business by his grasping brother Kassim, is out foraging when he spies the eponymous 40 thieves concealing treasure in their secret cave using the magic words "open sesame". After they leave, he enters the cave, appropriates some treasure, and skeddadles. Eventually he spills the secret of the cave to Kassim, who greedily dashes to the cave and fills his pockets, but forgets the magic words and is trapped inside.

Here's where things get interesting. The thieves return, cut Kassim to pieces and nail them above the cave entrance as a warning. When Ali Baba takes the pieces down to give them a proper burial, the thieves realize that he too knows about the cave and must be silenced. The thieves, who are pretty inept at killing anybody unless he's a nitwit who can't remember two words and basically turns up in their living room, try to follow Ali Baba home and slaughter his household through increasingly elaborate means, finally disguising themselves as an oil merchant's wares and smuggling themselves into his home in barrels. This prompts Morgiana, a clever slave girl in Ali Baba's household, to straight up murder the forty thieves by pouring boiling oil into their barrels.

What is it about Ali Baba that prompts Morgiana to roll up and commit mass murder on his behalf? How far would each of us go to defend our home from invaders? This was the kind of thing director Karl Miller and I set out to explore with my take on the Ali Baba story, Love and Theft. We may not have been able to answer all the above questions completely, but I think we can offer you what few other plays in the DC metro area will: a glorious barbeque fight.

MYTHappropriationV: Day 5: Zombies are people too

2009-08-09T09:29:00.000-07:00

Guest blogger Matt Ripa joins us today... sorry to be posting it a day after he wrote it! Matt is directing NARCISSE, John Newman's adaptation of a real honest-to-god true Zombie story...

Get your tickets now for MYTHappropriation, playing TONIGHT at 6pm and 8pm and before you come see it, stop by either DEAD CITY or LIVING DEAD IN DENMARK. You can see a show and MYTHap in one trip to Georgetown! Get your tickets here.

*********
Being a zombie sucks. Really. Having to travel all over the world searching for brains to eat. In our zombie story, Claire has been wandering for 16 years searching for her sister, the only person who can verify that her story is real. Suprisingly enough, this play is based on a true story in Haiti, in which a man was pronounced dead, buried and then many years later, he shows up looking for his sister. It was confirmed that he was actually dead and his death certificate was signed by his sister. Here he is, Clarivius Narcisse.

Check out the story here,

http://www.time.com/time/magazine/article/0,9171,952208,00.html

Rehearsals have been going great. Our team has been tasting and trying a lot of different zombie powders and soul powders. It turns out that FunDip is the best for soul powder. This came after some pretty hilarious trials with Sour Patch Kids powder. Tech today went really well and the artistic/tech team was awesome. The cue to cue went smooth and we are excited about the shows tomorrow.

It's not easy being undead...

2009-08-08T16:07:00.000-07:00

MYTHappropriationV: Day 4:Illusion and Addiction

2009-08-07T05:35:00.000-07:00

Left the theatre last night after showings of both DEAD CITY and LIVING DEAD IN DENMARK and there were two rehearsals for MYTHappropriations just beginning. If nothing else, the sheer lack of sleep on this project will make for some exciting work!

Today we hear from Guest blogger Josh Goode, Director of Shaun Raviv's YOU CAN'T FORGET A TREE. Josh was also the Assistant Director on LIVING DEAD IN DENMARK!

Tickets for DEAD CITY, LIVING DEAD IN DENMARK, and both rounds of MYTHappropriation can be purchased by clicking here.

*****************

What do the Odyssey, an elaborate series of Illusions, and a drug addict all have in common?

All things being explored in Shaun Ravivs, “You Can’t Forget a Tree”, an exciting adaptation of the Myth of the Sirens Song premiering at Mythappropriations V! For those of you who are eagerly waiting this round of Myths turned on their heads, here’s a little preview of what we’ve been up to exploring Shaun’s exciting new work.

Shaun’s adaptation shifts the focus of the myth of the sirens and shows us the world of someone whose been trapped and can’t escape. Much like a modern day drug addict, Odie, the tragic center of our story is plagued by an itch he can’t scratch and a thirst he can’t quench, the yearning to hear the sirens song one last time and we all know what happens when the Siren gets her grasp on a young man. The chore of keeping him from delving back into that addictive melody falls on his sisters Laurel and Perry, but like any other drug, it isn’t that easy to quit.

There’s the summery, and we’ve been having a great time with it. We spent most of Wednesday exploring the text and connecting to the ideas of the play. We lucked out in that our playwright gave us a piece that fits well within the time limit, giving us the freedom to stretch out certain moments. For a quick 10 piece however, it packs a whole ton of questions for us to piece together for our own understanding. After a very quick chatting session, we jumped up to our feet and started to find the best ways to express the various rich elements of the script. The highlight of the night was watching our big and strong cast member Theo, who is playing the Siren addicted Odie, being held back by the two significantly smaller women playing his sisters. I think he might have been holding back or we might have had significantly more injuries. As the night went on it seemed like with every turn we found a new question, until eventually we started to wonder….what if the Siren wasn’t really the bad guy?

And for the answer to that, we’ll see you Sunday.

MYTHappropriationV: Day 3: Sinbad and Monkeys

2009-08-06T09:06:00.000-07:00

As promised, a posting from guest blogger Leah Hamos, director of Brett Abelman's THE OLD MAN OF THE SEA OF STORIES...

And don't forget! The weekend begins tonight! DEAD CITY and LIVING DEAD IN DENMARK are playing tonight, Friday, Saturday and Sunday. If you haven't seen these remarkable shows you don't want to miss the chance. In fact, if you come to one of the matinees on Sunday you can see one of the shows AND MYTHappropriationV all in one day!

*********

Hi again to everyone investigating the inner world of MythAppropriations V! Today, we’re tackling the story of the Fifth Voyage of Sinbad which involves all sorts of weird things such as the Old Man of the Sea, a humongous egg and a city of man-eating monkeys. So you might ask how we could pull them all together into an adaptation of such a crazy myth! Well that’s been a struggle for our playwright, Brett Abelman this week. Brett was particularly drawn to the image of the Old Man of the Sea who entangles himself with Sinbad, unwilling to let go and leave Sinbad alone.

For Brett, this image inspired a connection to a father/son relationship as they wear each other down throughout their lives. Sounds a bit depressing but it, in fact, seemed a bit familiar – and therefore tremendously funny! – to everyone in our first read on Tuesday night. The father spins wild tales calling upon our story’s Arabian Nights and Scheherazade origins to inspire him with a multitude of narrators, characters and far-off places. I worry that if I continue, I will give away too much about our story and the many fun ways it will twist and turn.

So I’ll tell you a bit about what it has been like to launch into rehearsing and actually trying to direct the piece. Brett brought a final script to the table at tonight’s rehearsal. As a group we started to piece apart the many characters that Brett has three out of four of our actors playing (Al as the father will remain the same throughout) and build a longer arc and understanding of the piece as a whole. We read the play and timed it, looking for cuts. Read the play, timed it, and discussed. As our understanding of the piece grew, we decided to take a stab at putting the play on its feet and I think we were all incredibly surprised at how different – and alive! – the piece felt in doing so. Ian’s feel of the Son character was greater as he dealt with the weight of his father’s presence (like Sinbad with the Old Man). The interplay of the monkeys – you knew they would come back to haunt you! – felt fun but also so tangible and real, with a story of their own. Absurd, right? Well we’ve included a few snapshots of some rehearsals – we’re not sure they tell a story in 2D, but hopefully we’ve excited you just a bit!

We’re eager to get on the LIVING DEAD IN DENMARK set – all those levels to play with! – and really explore over the weekend. Should provide for some interesting playing space…

I’ll leave you with a Sinbad joke.

What did Sindbad eat when he was washed up on a desert island?

He ate all the sand which is there. (Sandwiches!)

See you all on Sunday! Leah

MYTHappropriationV: Day 3: Nooks and Crannies

2009-08-06T07:07:00.000-07:00

Last night the rehearsals began and today we have pictures from every corner of the city as our intrepid actors rehearsed in nooks and crannies throughout. How Emily Levin got to all these rehearsals to take pictures will remain a mystery...

Later today we will be hearing from guest blogger Leah Hamos, director THE OLD MAN OF THE SEA OF STORIES, Brett Abelman's adaptation of Sinbad's 5th journey. But for now, enjoy the pictures!

ABOVE: Actors get all serious and stuff during the workshop on Tuesday night. Note the white board in the background with all the groups chosen a mere 24 hours before.

LEFT: Actors rehearse for NARCISSE by John Newman, taking place in an office in Capitol Hill

RIGHT: Karl Miller directs rehearsal for LOVE AND THEFT by Seamus Sullivan. In addition to the detail of directing from an ACTUAL DIRECTING CHAIR, you will note the location is a a loading dock. Rorschach Theatre has a long proud tradition of rehearsing in loading docks. Near dumpsters.

LEFT: The cast of PARALYSIS by Colin Hovde. You will notice a running theme of monkeys and other anthropomorphic fun throughout our journey...

ABOVE: More of the previously-mentioned monkeys. This time in rehearsal for THE OLD MAN AND THE SEA OF STORIES by Brett Abelman.

RIGHT: And some anthroporphic pigs. Rehearsing in a Woodley Park living room for SAILORS, SORCERY AND SOCCER MOMS by Stephen Spotswood.

Tickets are still available for MYTH-APPROPRIATION: Tales from the edge of the world. Get them now by calling 1-800-494-TIXS or get them online by clicking HERE.

MYTHappropriationV: Day 2: Love and Swine

2009-08-05T08:56:00.000-07:00

Last night was the workshop for MYTHappropriationV and let me tell you, we've got some crazy plays this time around. Man-Eating Monkeys, Pig-Sailors, Zombies and death by bacon grease... it's going to be a wild ride. Don't miss a minute of it... get your tickets for MYTHappropriation now!

Today's post comes from Hunter Styles, director of SAILORS, SORCERY AND SOCCER MOMS, Stephen Spotswood's adaptation of the Circe Myth:

************
When is a man not a man? When he's a pig!

But aren't all men pigs? It's one of many questions that playwright Stephen Spotswood is puzzling out as he adapts the myth of Circe for the Rorschach stage.

You remember Circe? That enchantress of the rocks, that Greek femme fatale that lured Odysseus and his crew to shore, got them drunk, hosted a wild orgy, then started turning sailors into swine? A mean way to break up a party, but when the rum barrel runs dry I guess there's only so much left to try before the magic wand comes out.

K. Clare Johnson is our Circe incarnate, and she's joined by fellow actors Christian Sullivan, Julia Proctor, and John Tweel in Spotswood's take on the tale. Last night we spent a while reading the script, chatting about the ways in which the contemporary mashes up with the mythic (always a plus in adaptations) and we finished off the night in a table workshop with Randy Baker himself, alongside a veritable thinktank of other directors, writers, and designers.

To report what we're up to would be a crime, especially for an 8-12 minute show, but you may have guessed that there will be some zoomorphic plot twists, some blurring of the lines between human and animal... some "ensorcelling," if you will, and a bit of a power struggle among those with the power to piggify and those without.

Over the next few nights we'll be rehearsing in a living room in Woodley Park. The neighbors might wonder who's thumping around and casting the spells next door, but that's a price we're willing to pay. Our next-door antics might even intrigue them enough to join us in the Gonda Theatre on Sunday.

Stephen went on an epic journey of his own last night in creating Draft 2 of our show. Now it's time to stand it up and see what happens. Join us on Sunday evening for the bizarre and hilarious final product!

Love and swine,
Hunter Styles
Director

TWITTERING a zombie revolution

2009-08-05T04:56:00.000-07:00

Rorschach Theatre has discovered twitter.

To follow us, head on over to http://twitter.com/rorschachdc. You don't even have to join twitter to get a sense of the cool things that are being posted by our conspirators! Below are some excerpts from our live tweeting during opening night of LIVING DEAD IN DENMARK.
(SPOILER ALERT! The live coverage gives away major plot points and twists!)
Oh and the times are PST for some reason...

1:04 PM Living Dead in Denmark opens tonight! One of our conspirators will be tweeting about the Un-Dead LIVE! Starting @ 7pm.
3:39 PM The zombie army is having one last fight call before opening night!
4:07 PM hoards of the living are gathering in the lobby of the Gonda Theater for Living Dead in Denmark.
4:11 PM body bags hang over the stage... a soundtrack of screams and cracking bones... thats just the pre show!
4:13 PM we begin....
4:17 PM "where the fuck am I!?"
4:21 PM Ophelia and the Gravedigger are gettin' down... he feels ya Ophelia...
4:26 PM Lady M has a mighty fine axe and Juliet looks great in pig tails.
4:31 PM zombie death count: 5
4:37 PM "your mission...seek out and kill the zombie lord..."
4:44 PM Rosencrantz and Guildenstern are Un-Dead.
4:53 PM "get thee to a bomb shelter!"
4:55 PM was that the theme to Doogie Howser?
5:00 PM Zombie death count: 12
5:14 PM Make that 13... and so ends Act 1.
5:15 PM Act 2: "And flights of angels sing thee to thy rest...BITCH!"
5:21 PM Bond....Hamlet Bond...?
5:28 PM Ophelia has such bad luck with men.
5:34 PM "And thats what I call a plot twist!"
5:45 PM Finally we have an answer to that age old question: which is more badass ninjas or zombies?
5:47 PM Shakespeare's witches and monsters are just misunderstood.
5:52 PM GIRL FIGHT!!!
5:55 PM Fortinbras and ninja stars make an excellent combination.
5:57 PM Just one last bad guy to terminate!
5:58 PM BLOOD!!! Lots of it!
6:00 PM still bleeding!
6:02 PM ummm... wow.... still bleeding...

MYTH-appropriation V: Day 1

2009-08-04T07:48:00.001-07:00

MYTH IS BACK! Our extreme new play development event returns for two rounds, performing on August 9 and August 16. You can get your tickets now by clicking here.

Our first meeting was last night and the playwrights spent last night writing drafts of their plays. The themes for this first round are myths based on themes of the season, so you will see stories based on The Arabian Nights, Ulysses, Zombies and as you will see with today's entry, TALES OF POSSESSION...

We'll be hearing from guest bloggers all this week and next week as the process proceeds. We'll also keep you up to date with the happenings of LIVING DEAD IN DENMARK and DEAD CITY, both of which are in full swing. It's a busy time for the Rorschach Blog... you don't want to miss a minute of it.

Today's entry comes from Akiva Fox, director of Colin Hovde's adaptation of the real life story behind the Exorcist (title still TBA!). Special thanks today for some awesomely creepy photos of the exorcist stairs by C. Stanley Photo.

The Power of Christ Compels you...

Hey, remember the end of The Exorcist? No? Allow me to ruin it for you: the priest dies. Actually, two priests die, but that's immaterial. The Young Priest, Father Karras, dares the devil who has possessed a girl to jump into him. Father Karras then nobly flings himself out of the window and down the world's steepest stairs (which are conveniently located beneath the window).

We - playwright Colin Hovde, actors Jacob Yeh, Dave Bobb, Josh Drew, and John Milosich, and me, director Akiva Fox - received the story of The Exorcist as our myth to appropriate. Because of our heartfelt concern for you, the blogged public, we knew that mere words would not be enough. No, we had to give you eye-catching imagery, the kind that sells tickets. That's right. We visited the stairs.

As you may know, writer William Peter Blatty set both his novel and the screenplay adapted from it in and around Georgetown University (his alma mater). So we left the climate-controlled confines of the university's Davis Performing Arts center to walk the three blocks to the stairs where poor Father Karras bit it. And we proceeded to take the following action shots, shocking and horrifying patrons of the Exxon station at the bottom of those stairs.

You'll be surprised to learn that this is hardly the only DC-area connection to The Exorcist. Blatty supposedly based it on the 1949 exorcism of a Cottage City, Maryland boy. Inanimate objects would jump in the boy's presence, and strange scratching noises would emanate from the walls of his room. So they called a few Catholic Priests, and they exorcised him silly. The boy lashed out with violence, cursing, and more Latin phrases than a 13-year-old Lutheran ought to know.

My two favorite facts about this legendary exorcism: one, the possession first arose after a particularly strenuous Ouija board experience with his aunt. Two, the case only came to public awareness some months later, when a minister described it to a meeting of the Society of Parapsychology at the Mount Pleasant Library. Any myth that involves board games, the DC public library system and demonic possession can't be bad.

Remember: the power of Christ compels you...to see this show!

LIVING DEAD IN DENMARK opens tonight!

2009-08-02T06:21:00.000-07:00

Last night's preview of LIVING DEAD IN DENMARK was our largest preview audience that we've ever had. People seem to love them some Zombies. Get your tickets now!

To tantalize you a little more, here are a few images from the show...

(all photos by c. stanley photography)

DEAD CITY a view from the booth

2009-07-31T08:18:00.000-07:00

If you haven't seen DEAD CITY yet, ya gotta go NOW! The City Paper calls it "gorgeously realized" and I believe everything I read.

So to entice you, we have a fun posting today...

For those of you outside of the "biz" there is a document that Stage Managers put together every night called a "Performance Report." It lets us know what's going on, who messed up what and what how our crazy audiences are responding to this fantastic little show. Here are some exerpts from those performances, a view from the booth if you will...

There was gum thwaping tonight.

Samantha’s hair looked fabulous tonight

There was no gum thwaping tonight but there was extra gum fingering.

Tonight, the smell was coming off of the East River instead of the Hudson.

L 71 and 74 were late. I did not hit the GO button hard enough.

For tonight's run, the actors are only allowed to wear socks on the stage floor.

[Redacted] seemed to forget this lines at the beginning of his scene

We are gonna need a lot of McDonald’s bags.

Are you by chance able to bring an extra pair of socks tonight?

They ran the dance at the top of rehearsal right before the run. They seemed to remember all of it.

Can we issue [Redacted] socks? For some reason, we skipped that.

[Redacted] accidently spit out his gum at the top of the gum sex.

Do we know when [Redacted] can start working with her pregnant belly?

If the door magic is not going to work, are we able to remove the two wires and the crank thing?

Quote (s) of the Night:
“Jane Austen can $%^& me in the $%^hole.”
“It’s not a laugh. It’s an mmmm… a sexy mmmm”
“Channeling, humping or meowing, what would you like me to do?“
“When they run into a wall, they will stop.”
“Not too much I Hope It’s Not Butter.”
“Can she just have an ammo belt of tampons?"

"And this is why we don’t’ have all girl rehearsals."
“I always wanted to grow a beard then put new skin over it then take it off to show up with a full beard in the middle of the show.”
“There is always time to stick your hand in your pants.”

DEAD CITY runs through August 16. For a full schedule and directions please visit www.rorschachtheatre.com. For tickets, go to www.boxofficetickets.com/rorschach or call 1-800-494-TIXS.

TRACY RULES RORSCHACH FOR A DAY

2009-07-27T08:46:00.001-07:00

Tracy Lynn Olivera wakes the dead tonight.

Rorschach doesn't sing very often. We're great with the animal noise, stage violence that will make you squirm and all sort of other epic goodness...but the singing here at Rorschach is pretty rare. But all that changes tonight when Tracy takes over. Frankly, she is the perfect person to be doing this. Beautiful, brilliant and talented--with the mouth of a sailor.

She has assembled an outstanding team of guest stars including Gabriel Mangiante on the keys and Monalisa Arias on drums. That's right, you saw Monalisa play Rosemary in BRAINPEOPLE, now come see her bang out a mean rythm. Some other guests include Evan Casey, Robyn Badman, Stephen Gregory Smithand Rachel Zampelli.

So join us tonight for this ONE NIGHT ONLY fundraiser for Rorschach! It's only ten bucks.

Tickets are on sale here or at 1-800-494-TIXS you can try your luck at the door tonight.

(A picture from last night's rehearsal...)

DEAD CITY opens tonight

2009-07-19T06:37:00.000-07:00

DEAD CITY
By Sheila Callaghan
Directed by Jenny McConnell Frederick

Now playing through August 16, 2009
GET YOUR TICKETS HERE!

FEATURING Company Members Tim Getman and Grady Weatherford. With Wyckham Avery, Rachel Beauregard, Val Fenton, Danny Gavigan and Lee Matthews DESIGNED BY Company Member Matthew Frederick (Sound Designer)with Eric Grims (Set Designer), Frank Labovitz (Costume Designer), Andrew R. Cissna (Lighting Designer) and Becca Dieffenbach (Props Designer) STAGE MANAGED BY Kyle Jean Fisher WITH Emily Levin (Assistant Director), Leah Hamos (Dramaturg), Melissa-Leigh Bustamante (Choreography), Lauren Cucarola (Assistant Costume Designer), Kate Lucibella (Technical Director), Robert Brown (Master Electrician) and Trey Carnley (Master Carpenter) PRODUCED BY Randy Baker and Jenny McConnell Frederick

The Trailer for BRAINPEOPLE

2009-07-16T10:55:00.001-07:00

Thanks Grady!

Get to Know the Cast and Director of BRAINPEOPLE

2009-07-09T06:56:00.000-07:00

Here is a rainbow of answers to five questions for the cast of BRAINPEOPLE. Get your butts to the theatre tonight after you Get to Know, Director and Company Member Catherine Tripp, and cast members Regina Aquino, Amanda Thickpenny, and Monalisa Arias.

1. Would you decribe yourself as a Brainperson?

Catherine: Uhm no I am the essence of me
Regina: Totally and completely, in every way you can interpret that word.
Amanda: If by Brainperson you mean Nerd, definitely. I have an encylopedic and completely useless knowledge of geography and art history, and I think the brain is the sexiest part of the body.
Monalisa: So totally yes.

2. What makes Brainpeople a good fit for Rorschach?

Catherine: The magic realism and the dark humor
Regina: It’s a story about the inherent human need for connection and communication while it completely dissects the psyche of each character in the play. Total emotional, spiritual and psychological examination - so of course its a good fit for a company named after an actual psychological exam.
Amanda: It's magically realistic and realistically magical - and totally theatrical! And this is my second Rorschach show involving girl-on-girl action. Stay tuned.
Monalisa: It's edgy, sexy, and hopeful. Like all you Rorschachers!

3. Multiple personalities play a big part in this show? Do you have any alternate personas and if so can we meet him/her?

Catherine: I ain't telling.
Regina: No, there's just me. I'm plenty of crazy awesomeness in one personality. Though I am constantly talking to myself. And I mean constantly - people look at me funny.
Amanda: Gemini...
Monalisa: I have hundreds of people in my brain. You can meet 14 of them when you see the show.

4. Small cast shows are a rarity among Rorschach productions? What is it like not to have to keep track of 15 to 20 people during the rehearsal process?

Catherine: It has made process a lot tighter. And I think that the sense of team is a lots stronger. We are definitly in thidefinitelyr. You can't stand in the back of rehearsal and not pay attention. We are all there all the time.
Regina: I LOVE small casts. The shows I'm most proud of had small casts. The intimacy of a three person cast, combined with the fact that everyone in the room on a daily basis is a woman makes for an intensely personal, highly empowering experience. We all spend so much time supporting each other and allowing each other to just be free in the moment that our relationships on stage and off are completely open, honest and trusting. Not only do I totally respect these women professionally, I have made some deep friendships that are truly rare to come across in life. This is one of those shows that has changed me and how I perceive the creation of art, which is a precious thing.
Amanda: It's lovely and exhausting. We're a really tight cast. We support and nurture each other. But we have to give 100% the whole time. In a cast of three people, if you're screwing around upstage, everyone notices.
Monalisa: First time with y'all, so it's awesome for me.

5. What is the most awkward dinner party you have ever attended? And what did you have to eat?

Catherine: I did have to go to a dinner party where we ate beef heart. (It was my parents party and I was a teenager- which is pretty much the longest awkward dinner party any of us go to)
Regina: I've been to so many awkward dinner parties I don't know where to begin. As far as food goes, I've been served a noodle dish with chicken and bits of liver that looked like chicken and no one told me about the liver so when I voraciously ate it, I was stunned by the texture and froze in place, trying to think of a non-rude way to extract the bits of liver from my mouth. I honestly felt violated and duped.
Amanda: My parents had several awkward dinner parties. They weren't really into entertaining, and whenever they did invite someone over, it was usually out of pity: my father's single and lonely clarinet teacher, my mother's nebishy Rabbit Rescue friends, anyone who had recently been through a really bad divorce, home forclosure or natural disaster. So to this day, I feel like something is missing if, at a dinner party, someone isn't regaling everyone with their tale of woe.
Monalisa: Most awkward dinner party...thanksgiving with friends of mine, made awkward because my significant other at the time didn't want to be there. Tons of turkey, mashed potatoes, and most importantly, STUFFING!!!

BRAINPEOPLE reviews and pics

2009-07-08T11:04:00.000-07:00

BRAINPEOPLE continues this weekend. Don't miss this beautiful piece that returns us to Jose Rivera's unique brand of magical realism...

Get your tickets here.

"The kind of challenge that Rorschach Theatre loves, of course. The company's pattern has been to embrace dense, intellectually aggressive material"

--Washington Post (For the full review, CLICK HERE)

"When a woman offers two strangers $20,000 to dine with her for an evening, there's naturally got to be a catch. But in Jose Rivera's Brainpeople, being given a thoughtful, intimate staging by Rorschach Theatre Company, none of the cliche scenarios and hypotheticals that may have popped into the mind apply to what's about to happen to this trio of women from disparate, if equally desperate backgrounds."

--DCist (For the full review, CLICK HERE)

Director Catherine Tripp has accomplished a vivid work - disorderly and feverish but making it seem quite plausible. Here is an unconventional journey within the Latin magical realism genre toward an unexpectedly optimistic final chronicle of three women’s search for love and trust.

--Potomac Stages (For the full review, CLICK HERE)

"..the story comes together marvelously and each actress rises to the occasion."

--DCTheatre Scene (For the full review, CLICK HERE)

A Karl Miller Joint

2009-07-01T06:31:00.000-07:00

You all remember Karl Miller, the man who now graces the Rorschach homepage and the pages of American Theatre Magazine with his Calvin Klein model good looks and striking pose, the Helen Hayes nominee and Rorschach Company member. Yeah, that Karl Miller!

Well these days in addition to his theatrical pursuits he is haunting the halls of the Davis Center shooting mind bending films about Rorschach. Take a look and be sure to watch out for the cameo by Tim Getman's belly.

Brainpeople Photo

2009-06-30T12:56:00.001-07:00

Brainpeople in The Post Weekend Section

2009-06-26T06:07:00.000-07:00

Want to know what goes on behind the scenes and in a Rorschach director's head?

Well you can read some pretty cool things that Rorschach Company Member and director of Brainpeople had to say about the show in a great interview with Chris Klimek in The Post's Weekend Section on sale now.

As Tripp sees it, both the grim setting and the odd dramatic situation of "Brainpeople" are merely avenues to examine a psychological state. "They turn up the volume on that sense of aloneness and disconnect," she says. "That panic of being trapped and alone -- of everyone being in the same situation but no one can talk about it." -Chris Klimek- The Washington Post

You can also check out a rather large photo of the cast. And for those of you who are big fans of Helen Hayes Award winning Sound Designers, and who isn't, you can spot the great Neil McFadden peaking over Regina's shoulder. Read the article HERE.

Come and see what all the buzzy-buzz is all about at one of the two remaining PWYC Previews tonight and tomorrow night at 8pm.

Also remember that 1001 has extended but beat the rush and the show this weekend tonight and Saturday at 8:30pm and our special "I am afraid to drive out of the City after the sun goes down" Matinee at 2:30.

Summer at Rorschach just keeps rolling along!

PAY-WHAT-YOU-CAN PREVIEWS for Jose Rivera's BRAINPEOPLE begin tonight...

2009-06-25T12:29:00.000-07:00

"Maybe you shouldn't dig too deep. Could hurt somebody. Or scare yourself to death."

PAY-WHAT-YOU-CAN PREVIEWS for Jose Rivera's BRAINPEOPLE run this Thursday, Friday and Saturday evenings, all at 8pm. The regular run continues until July 26.

For tickets to the rest of the run, click HERE.

1001 EXTENDS TO JULY 3!

2009-06-23T13:31:00.000-07:00

"What are any of us but a collection of stories? You change the story of a nation and you change that nation."
-- 1001, Scene 18

Two shows have been added to the run of 1001:

Thursday, July 2 @ 830 pm
Friday, July 3 @ 830 pm

Get your tickets here!

Almost Live Blogging...

2009-06-22T16:53:00.001-07:00

...from the first rehearsal of Living Dead In Denmark, with costume renderings and research by designer and company member Deb Sivigny.

Sneak Your Peak...

Backstage with the BRAINPEOPLE

2009-06-22T08:50:00.001-07:00

Big thanks to Monalisa for putting together this sneak peak!

Enjoy!

Jason Grote Comes to Town and Love from The Sentinel

2009-06-19T06:33:00.000-07:00

We all like a good story. In fact, we like a lot of good stories, which may explain why Western audiences have always been fascinated with the Tales of the Arabian Nights with their mixture of adventure, mysticism and exotic locations.

Those stories seem timeless, and in the excellent production of Jason Grote’s intellectual yet rambunctious play 1001, currently at Rorschach Theater, those tales become literally timeless, working in an imaginary past as well as an all too familiar contemporary world. -David Cannon, The Sentinel

Thanks David for reminding us all how wonderful Jason's play is.

Speaking of Jason Grote, he'll be at 1001 tonight. After the show he will have a talk back with the audience, so get your questions ready.

Get your asses over to G-town to see this amazing show, that audiences love and critics can't stop praising! Just two weekends left. And if you are afraid to come into the city at night, come and join us for one of our two Sunday Matinees.

Much love!

Brain Storms

2009-06-17T13:03:00.000-07:00

So while the fabulous 1001 is getting all the press these days, there's some pretty incredible work going on all over Camp Rorschach. Here are some photos of the amazing Brainpeople team during First Read and Designer Run. This play is so beautiful. (...and the women aren't too shabby either...) You're going to love it.

Happy Bloomsday!

2009-06-16T13:50:00.000-07:00

Wyckham Avery, star of Rorschach Theatre's production of DEAD CITY, is seen celebrating BLOOMSDAY.

This annual celebration of Irish writer James Joyce and the re-enactment of the events in his novel Ulysses. 16 June was the date of Joyce's first outing with his wife-to-be, Nora Barnacle, when they walked to the Dublin village of Ringsend.

DEAD CITY is a dark, hip and ultra-theatrical reimagining of James Joyce's Ulysses reverses the genders of the main characters and updates the landscape to a mind-bending Manhattan. Sheila Callaghan's distinctive style makes the mundane electric and turns conversation into poetry.

The run begins with three Pay-What-You-Can Previews on July 16, 17 and 18, all at 8:30 PM.

Keeping Trey Graham Awake

2009-06-15T06:33:00.000-07:00

Did I mention last week that Trey Graham at The Washington City Paper liked 1001 a great deal as well?

Well if I didn't here goes:

Local companies not caring much about a critic’s sleep schedule, or his overtaxed vocabulary, the week’s theatergoing schedule served up another riot of excess. Truth be told, though, it’s a pretty damn entertaining batch of excess.

The most intellectually ambitious of this lot is probably 1001, Jason Grote’s dreamy, nested-narratives rethink of the Scheherazade fable, which weaves a strain of modern existential angst into the fabric of those ancient tales. Things get underway in King Shahriar’s Persia, as usual, but once the storyteller lady (a briskly assertive Yasmin Tuazon) starts spinning her endless yarns, several of them turn out to be set in climes even more exotic than Ali Baba’s cave, an island called Man Hat being one of them.

Read the rest HERE.

Get to Know Lee from the Cast of 1001

2009-06-10T12:43:00.000-07:00

In our continuing and popular series of probing exposes I present Mr. Lee Liebeskind. He is the one on the right with the nasty looking pig-sticker!

This isn't Lee's first go-around with the Rorschach rodeo, having previously been in Dream Sailors and Rough Magic. This time he appears as the One-Eyed Man, Sinbad the Sailor and various other characters in 1001.

1. Who are you, and what are you doing in or on or around 1001?

Hello I am Lee and I will be your character of B today. Please remember that the exits are located at the front and back of the plane and that in case of a water landing your seat can be used as a flotation device.

2. So. No pressure, but you're sort of kicking off Season 9 for us. You'll be basically setting the tone for the whole summer. What are you and this show bringing to the table?

I plan on bringing an ambrosia salad...that does sound tasty...mmmm marshmallows

3. Jason Grote's plays sort of pulse with a punch-drunk intelligence, and this one sort of stews with lots of odd pop-cultural and historical references. Are there any in particular that jumped out at you as you read the script?

Jumping out? Like a Lemur on crack? Nothing like that but the scene where Sinbad meets Borges really was a great juxtaposition.

4. 1001 has got a strong romantic side to it as well. On a scale of 1 to 10, with 1 being "no chance" and 10 being "as certain as a sunrise," how would you assess the chances of an audience member getting some lovin' if they brought someone special to see the play?

Lets put it this way...Scott McCormick will personally guarantee that you will get laid after seeing this play or he promises to get one of the Rorschach tribe to make mad passionate love to you. (only while supplies last) (Editor: Lee's right act quickly, supplies are going fast. I am getting worn out and that was before the glowing review in The Post!)

5. Do you own your own scimitar? If no why not?

If you are referring to my pants...then yes. If not I don't know why you are asking?

Talk About The Hotness

2009-06-09T12:07:00.001-07:00

When you have a theatre company you want reviews like the on that 1001 got in the Post on Saturday. You want a review that is fair minded, supportive and good.

Peter Marks in the Washington Post had this to say about our show:

Stories, stories and more stories: They wrap themselves around one another like the strands of a double helix in "1001," Jason Grote's urbane, contemporary riff on the tales of the Arabian nights, staged with a pleasing, all-hands-on-deck gusto by Rorschach Theatre.

As it did last summer with Grote's "This Storm Is What We Call Progress," the troupe -- formerly ensconced in a church in Columbia Heights -- is starting a season at Georgetown University's Davis Performing Arts Center with a play by this restlessly cerebral dramatist.

Read the whole review HERE, but long story short, this is a great review for a great show. Don't miss out my lovelies, this is another Rorschach show not to be missed!

1001 Trailer Time

2009-06-08T09:51:00.000-07:00

Thanks to Grady and the crew for getting this together. I think it looks fantastic! Best one yet!

Forward as you like!

Here's A Video Of Randy, Straight Up Gabbin' About 1001 And Stuff!

2009-06-04T23:23:00.000-07:00

LOOKIT! We made a video of sorts, and then my cheap floozy of an editing deck crapped out on me for a few days, but finally, lo, it is here. No, it doesn't have you fancy-pants "production values" or "star wipes" that are the hallmark of those Grady Weatherford "joints," but it gets the job done. And the job is this: Randy Baker talking about why you should come see the show 1001, which is just opened and already bridging the gaps between cultures! Enjoy!

Get to Know Rex Daugherty

2009-06-02T06:11:00.000-07:00

Get to Know is one of my favorite features here on the blog, because I don't write most of it and with Jason Linkins writing the questions I have even less to do than usual. So first on the block is our leading man Rex. You may remember Rex from last summer's Dream Sailors, where he was bitten, shot and got the girl. He is the one with the beard to your right. He's a good good man! Enjoy!

Here's my curse-free questionnaire...you fickin butch!
-Rex

1. Who are you, and what are you doing in or on or around 1001?

Who, me? Well, stranger, I'm so glad you asked. I'm the heavy. Randy brought me in to really lay down the law. And let me tell you something - all 155 pounds of my Irish white self can do it. I've made grown women cry. Also, my name is Rex. But my cast mates call me Shahriyar, or Your majesty, or King...or Alan. Because I make them. Alan is an awesome name.

2. So. No pressure, but you're sort of kicking off Season 9 for us. You'll be basically setting the tone for the whole summer. What are you and this show bringing to the table?

Well, uh... that's a great thing to...s ee what we're doing is all about... hm. Yes. I think we'll start off with a fang.
No.
A bang.
(he shakes it off)
I think this show is a perfect piece for Rorschach. The driving pulse of 1001 is the root of all theatre - story telling. And because of the vastness of myth, legend and accumulated tales that 1001 (both Jason's play and the traditional folklore) contain, it's a great launching point for a season of magical, larger than life stories. Also, if we started with Living Dead in Denmark, everyone would be killed by zombies and there'd be no other shows this summer.

3. Jason Grote's plays sort of pulse with a punch-drunk intelligence, and this one sort of stews with lots of odd pop-cultural and historical references. Are there any in particular that jumped out at you as you read the script?

Osama bin Ladin is in this play. That jumped out as I read the script. But I also am really intrigued by the fairy tale version of New York that we see in this play. Jason compares Man Hat's (Manhattan) sky scrappers with the Tower of Babel. And the tale that follows is all about a labyrinth of subway tunnels, leading to another world...like Babel led to so much diversity of language and scattering of people...or maybe I'm trying too hard to connect the plots. No, I mean. Dots.

4. 1001 has got a strong romantic side to it as well. On a scale of 1 to 10, with 1 being "no chance" and 10 being "as certain as a sunrise," how would you assess the chances of an audience member getting some lovin' if they brought someone special to see the play?

This one goes to 11. Uh, ya...bring someone special...but be warned that I might end up kissing them. That tends to happen in this play.

5. Do you own your own scimitar? If no why not?

No. I'm a nunchuck man.

1001 Gets Some Love

2009-06-01T14:17:00.000-07:00

Hello my sweets! It has been a while hasn't it. But here I am at your beck and call. I have things to tell you...

Summer starts here and summer starts now. First I show you a picture of 1001 by Jason Grote. It is sexy, no? I have many more photos and I have questions and answers from the cast and crew which I will begin to parse out tomorrow.

First however I share with you the first love letter sent to the cast and crew of 1001. This missive comes from Tim Treanor and the kids over at DC Theatre Scene. Tim writes:

Good storytelling is a sort of fearless magic act, in which events move too quickly to tolerate objection. This is certainly how Scheherazade treats her murderous husband, telling her stories with confidence and at the speed of life, heedless of her impending doom. And this is the way that director Randy Baker and the rest of the Rorschach troupe tell this story: with such assurance and commitment that the impossible seems true - here is a magic lamp!

There is more to behold so go and read the whole review HERE!

Tomorrow: Get to Know is Back!

Pictures Worth 1001 Words

2009-06-01T07:48:00.000-07:00

1001 by Jason Grote had a really beautiful Opening last night, full of all of Rorschach's favorite friends. In the next day or so we'll have a fantastic pictures of the finished product, but in the meantime I wanted to share with you some of the work that happened along the way...

Photos from 1001 Rehearsals:

1001 opens tonight.

2009-05-31T10:15:00.000-07:00

"What are any of us but a collection of stories? You change the story of a nation and you change that nation."
-- 1001, Scene 18

Tickets on sale now.
http://www.rorschachtheatre.com/

Here's to Myths Gone By...

2009-05-18T11:36:00.000-07:00

While a little belated, kuddos must be given to everyone involved in Myth-Appropriation: Urban Legands. The plays were fantastic, the actors hysterical and the direction spot-on! We couldn't be prouder of the whole bunch. I could go on and on, but luckily Photographer & Director extrodinare, Colin Hovde was on hand to capature the whole thing. Enjoy!

I got your offie right here...

2009-05-04T20:27:00.000-07:00

I know I know. I promised pictures of MYTH-APPROPRIATION: Urban Legends. They are coming. I promise. And they will be awesome.

In the meantime, let me tell you a little about Deb Sivigny and the award she got last night.

The sixth annual LOWT OFFSTAGE HONORS, or the "Offies" as we like to call them, is a pretty terrific evening. Every year members of the League of Washington Theaters come to honor some unsung heroes in our midst. Here's what League prez David Snyder has to say:

"We all know that the people offstage, everyone from resident staff to stage managers, are often the heart and soul of our organizations, giving their time, expertise and hard work in support of the artistic process without the spotlight of recognition," said LOWT President, David Snider. "Join us in honoring these unsung heroes of DC theatre, who have made and continue to make DC one of the most exciting, vital and productive theatre communities in the nation and the world."

So a lot of people gathered at Woolly Mammoth, ate some rocking hummus and 7 layer dip, drank Harp and Blue Moon beer and honored Deb and some folks from other theatres.

Her award looked like this:

We decided to honor Deb for a number of reasons. Besides designing nine shows for us and building a host of things on shows she didn't design (like the severed head in MASTER AND MARGARITA and the dead body in LORD OF THE FLIES), Deb has done quite a bit behind the scenes from casting to marketing to graphic design to intern coordination.

This past year Deb topped all her past offstage endeavors by planning our benefit, THE FIRE OF LOVE FETE. There wasn't much that she didn't do on this massive project. She found the space, she solicited food, drink and silent auction donations, she organized the volunteers and she made the gallery on R street look amazing in under an hour. Seriously. You've never seen an opereration quite like it.

In addition to Deb, other friends and company members won awards. Company Member Catherine Tripp won an award for her work at Woolly Mammoth. She tried to get without having her picture taken. She was foiled:

Another friend of Rorschach, Dre Moore, won an award for her offstage work at Adventure Theatre. Dre is designing props this summer for 1001 and LIVING DEAD IN DENMARK.

Here is a picture of Deb and Dre fighting with their awards like they are Rhinoceros:

So congratulations Deb, Catherine, Dre and all the other Offie winners!

Alligators in the sewers

2009-04-25T20:31:00.001-07:00

I'm a bad person. I missed this morning's blog entry. So please forgive the no longer accurate tenses of Seamus Sullivan's report from the field. Seamus Sullivan wrote NEW YORK WHITE, an adaptation of the "alligators in the sewers" myth.

I'm sitting outside the theatre and listening to the late show of MYTH APPROPRIATION: URBAN LEGENDS play behind the door. It's a terrific night of theatre and the coming together of 40 artists to create something like this reminds me of why I love this job.

Check out the blog on Monday for some pictures of the event itself. Until then, enjoy Seamus' blog entry...

******************
Since Jenn and the cast will blow your collective minds tonight with the actual play, I thought I'd give you a preview by writing about how the script for "New York White" came to be. It begins with a severly underappreciated man in early 20th century septic history.

One of the first things that stuck out for me about our assigned urban legend, the one about alligators in the sewers, was that the sewers in question are always in New York City. I had to wonder- what was it about New York's sewers in particular that made them so alligator-worthy?

At least part of the answer turned up in the the form of one Teddy May, who served as New York City's Superintendent of Sewers in the 1930s. His firsthand (and probably embellished) account of fighting alligators in the sewers in Robert Daley's 1959 book The World Beneath the City is one reason the gators are so pervasive among urban legends. May told a number of apocryphal stories about the sewers in which he discovered murder weapons amid the sludge and testified against the owners in court, or recovered a $25,000 ring lost by Ulysses S. Grant's daughter. His appearance was better suited to tall tales than real life; in pictures he droops like a cartoon basset hound, and one eye, fused half-shut by a steam line mishap, is permanently winking. In The World Beneath the City, he doles out malapropisms like candy:

'Linoleum, to Teddy was "rineoleum," and he sometimes spoke also of "sympathy" orchestras, "horowitzers," and of two men "getting between ya."' And so on. My skills as a researcher are modest, but I have yet to locate a scrap of information on Mr. May, verbal or pictoral, that is not completely hilarious.

Imagine, now, that you are a playwright on deadline and it is three in the morning. You are half-blind from looking up sewer statistics that refuse to arrange themselves into a coherent play. You can imagine how the sudden arrival of this toothless hero in waders might, for someone in your position, evoke all the glory and fanfare of a redeeming angel's descent from the clouds. The outlines of a play begin to emerge.

Where did such a ready-made character come from, and what quirk of destiny saddled him with the mundane but daunting duty of handling the waste of one of the world's most populous cities? What is it about cities that incubates the likes of May and his gators? I thought about cities and the people who keep them running, and about why we have urban legends as opposed to the regular kind. And I began to write.

See you tonight!

Mikey likes it...

2009-04-24T05:09:00.000-07:00

Is there an urban legend more iconic than the Poprocks and Coke myth? Today's news from the front comes from Bryn Tucker an actor in COKE HABIT, Shaun Raviv's adaptation of the story that may or may not have ended our good friend Mikey.

Only one more day to buy tickets for MYTH APPROPRIATION: URBAN LEGENDS...

GET YOUR TICKETS NOW!

COkE HaBiT: Another Awesomely Senseless Pop Rocks Play

At first it sounds like a new concoction of death created by some New York street junkie but it's also an urban legend. You know that whole thing when you drink a soda followed by Pop Rocks and then you explode?! Needless to say working on our myth has been pretty sweet!

When we read the script for the first time, our director gave us some real life Pop Rocks. It was hilarious when someone had something positive or profound to say about the work and all you heard was "crackle crackle pop crackle". We also found that Michael had the same name as the kid from the old school LIFE Cereal commercial. Allegedly, he chugged an unspeakable amount of Coke and Pop Rocks and exploded. Of course, he's now an attorney in New York City according to PopRocksCandy.com. I'm not even sure if that's a creditable source....

Now, thanks to the Internet, there's a whole new world of senseless pop rocks and coke destruction out there to explore, not to mention the whole Mentos and Diet Coke madness! The more things change...Peace Out!

-Pop Rocks Crew

Safe Words

2009-04-23T10:17:00.000-07:00

Today's blog entry is written by Ed Xavier, an actor in LICKED, Gwydion Suilebhan's adaptation of the urban legend, "the lick."

Be warned... It is a dirty little play.

So much so that this blog entry will probably show up in some pretty crazy web searches today. A touching tale of a dominatrix and her sex slaves, LICKED will be sure to shock and awe. To that end, I have posted a cute picture of a different kind of man-dog:

Because after you see this show... you will never think of dogs the same way again...

Don't miss MYTH-APPROPRIATION: URBAN LEGENDS, this saturday at 6pm, 8pm and 11pm. Get your tickets here.

************

The basement office area of The Atlas doesn't resemble a dungeon. The walls are brightly colored, the climate control works reasonably well, and there is no sign of the requisite devices of torture and submission that one might typically expect in the lair of a professional dominatrix (unless director Colin Hovde didn't give us the full tour). However, this was where the cast of "Licked" met for table work and rehearsal last night.

The play is inspired by an urban legend in which a woman climbs into bed with her faithful dog asleep at the side of her bed. During the night, she is awoken by the sound of a dripping from the bathroom. Fearing the presence of an intruder, she reaches down alongside the bed where her hand is met with a reassuring lick. Comforted by the dog's presence, and reasoning that he would have left to investigate had anything been amiss, she falls back to sleep. A while later, the woman is again awoken by the dripping noise. Reach, lick, reassure, fall asleep again. The third time this happens (everything happens in threes in these stories, but that's a topic for another day), the woman chooses to investigate. She goes to the bathroom where she finds her dog eviscerated and hanging in the shower, blood dripping into the tub. On the mirror, written in the dog's blood are the words, "Humans can lick, too."

The moral implications of this story are unclear to me. What is the listener supposed to learn by this cautionary tale? Would her dog be alive if she let him sleep in the bed with her? Did she forget to lock her door? And how is she ever going to get all of that blood out of the tub? This legend brought to you by the makers of Comet and other fine household cleaning products.

Gwydion Suilebhan has taken this legend and used it as a jumping off point to explore the theme of betrayal. As the woman of the legend is betrayed by her own false sense of security and control of her environment, so is the heroine of "Licked." The play takes place in the home of The Mistress (Jessica Hansen) on the evening before she names her favorite: her long-time faithful servant (Nick Greek) or her sexy, new boy-toy (Adam Segallar). Of course, I'm biased. As her faithful Man-Dog, I'm pretty sure that no matter which one is named as favorite, I have a special place in her heart that neither of those guys can take away.

More goats.

2009-04-22T10:16:00.000-07:00

I'm really only supposed to give each group one blog entry a day but these pictures from the cast rehearsing THE VOLGA GOATMAN are just too much fun to pass up...

And director Akiva Fox telling an actor what he thinks...

Beware the Goatman of PG County...

2009-04-22T05:44:00.001-07:00

Last night was the "first read" of MYTH APPROPRIATION: URBAN LEGENDS. All six plays were read and what a terrific collection of weird and wonderful stories they were!

Included here today is a first person account of the process so far from Jacob Yeh, an actor in THE VOLGA GOATMAN, Ben Kingsland's adaptation of the Prince George's County local legend... "The Goatman"

Don't wait folks! Tickets are selling out!
Get your tickets to MYTH APPROPRIATION: URBAN LEGENDS by clicking here.

******

Sunday night: excitement and that little bit of nervous energy you get when you are about to meet a whole bunch of new people for the first time and you want to make a good impression. I am doing this, right? I mean, there’s no way that I can screw this up now, like say by, oh I don’t know, FORGET TO BRING A HEADSHOT! Hmm, seems I’m not the only one. How are we going to decide how the groups are formed? Do we have to audition again once the playwrights know what their myth is? Before we get to that: quick, think of some urban legends that are significant to you because that’s the “ice-breaker.” Hmmmm. The one about waking up in a bathtub of ice? I mean I like that one but that’s all I got. Should I share the one about trying to kill (ok not kill but at least make her have a bad tummy ache) my sister with Coke and poprocks? Or will people get freaked out by me? Oh whatever, laugh a little, people. Sheesh, like you’ve never thought you wanted to inflict bodily harm on a sibling. Ok moving on since dwelling on this topic any longer just makes me look creepier. Oh, so THAT’S how we choose groups. Nice and random. Seems like a neat group of people, all very intelligent and enthusiastic, all willing to share ideas and bring props. Wonder who the mystery absentee actress in our group is? Wonder how Ben (the chosen playwright for our “electrical tape” group) will end up writing a story about the Goat-man. BTW, for the record, both Ben and I are native Marylanders (go Mont. Co.!) and have NEVER heard about the goat man, so yeah…not sure what that means or what my point is.

Monday: got the script (nice, Ben) and think it’s quite good: intelligent, funny, ironic, and it’ll be a hoot to do. Thanks for writing my character as a Uigher, Ben. For some reason, that seemed really thoughtful. Accepting, I guess. Yeah, embracing what each actor naturally brings, like Adrienne and her Russian background. Plus, as an added bonus I get to see some midriff. Nice first read-through. Man, will need to brush up on some Russian dialect. Where’s that copy of “Eastern Promises”? Hmmm. Maybe my character has a little of the Russianness of Viggo’s crime-lord and the smoothness of the late Ricardo Montahlban? Let’s go look up some Goat-man pictures to see if that provides any inspiration. Yikes. For some reason, pictures of people with horns and various cloven-hooved goat hind-quarters creep me out more than the sci-fi/fantasy D&D-style images. Maybe because the former is somebody real who thought it might be a good idea to dress up as Satan? Or maybe just knew way too many people who enjoyed “Magic” so I’m inured to the latter?

Tuesday: get to hear the other plays for the very first time, so that should be fun. What’s with the theme of anthropomorphized animals? So far we got a serenading dog, a soliloquizing rat (totally stole my Ricardo Montalban theme, btw), pot-smoking alligators and of course, the goatman. And how exactly are they going to do the stunt with the “stink finger” and manage to get it so that there is enough “ink” to write on the wall? Nice to be able relax, enjoy the other plays and just be entertained. Hearing how funny and well-received the other plays were, there was a brief moment of panic. I like it, but is our play (actually, Ben’s play) as funny and will the audience like it as much? That moment melted away as soon as Adrienne brought down the house with her Russian song of welcome, complete with half-assed gestures. Nice. Bravo to all the playwrights. Nice jobs on short notice. Impressive.
That’s all I got. Looking forward to rehearsing with everyone and getting to know these people that I’ll be spending immense amounts of time with this week only. Hope people enjoy the shows; it’s been a blast so far.

Rats make good pets

2009-04-21T06:31:00.000-07:00

Today's entry is from Matt Ripa, director of NIGHTMARE OF MR NIBBLES, Steve Spotswoods adaptation of the "Mexican Pet" urban legend...

Anticipation. One of the things that I love about this process is this first day. I could not wait to see what Steve came up with for this myth. To be quite honest, last night was the first time I had ever heard of the Mexican Dog/Rat Myth. Basically, a woman travels to Mexico and finds a stray dog on the side of the road. She takes pity on the dog and feeds it. She ends up smuggling the dog back to the US and upon her return the dog needs to go to the vet. The vet informs her that the creature is in fact not a dog, but a large Mexican Sewer Rat. Other versions have the dog/rat feasting on the woman's children. I was very curious to see how Steve would turn what I saw as a ridiculous story into something dramatic and compelling. He did, and it is hilarious...but, you will have to wait until Saturday night to see why.

Urban Myths seem to always play upon a fear that most people have. In this case, the myth of the Mexican Rat seems to be play onto that fear of the "other." During our first session together, we were asked to share a personal story about an urban myth. Immediate fear surged through my body. One because I do not like to talk in big groups of people. Two, because I thought I had no real connection to urban myths or legends. Growing up I knew that stepping on crack would not in fact break my mother's back. I had no problem eating pop rocks and coke together. Later in the evening, as I thought about this some more, I realized that scary movies in their basic premise are Urban Legends. They are stories that play upon our fears. I might not have ever believed that Bloody Mary would jump out of the mirror and kill me, but I definitely been scared shitless by stories around a campfire or at a sleepover. And then I remembered my story:

During high school I worked as the properties manager in the theatre. When I started as a freshmen I was told that there was a ghost in the theatre that would always appear during a show over the headset. You could hear this sequence: Brahm's lullaby, a baby crying, footsteps, baby stops crying, Brahm's lullaby, louder baby crying, louder footsteps, baby screaming, silence. Anyone who told me the story swore up and down that they themselves had heard it and it was terrifying. Of course there were stories about a baby being murdered where the school was built. This story changed everytime I heard it. Now, to be honest, I had been on that headset more times than I can remember, and I never once heard it. But, I had heard the story told and retold so many times, that I came to believe that I had. Or I could hear it in my head. As I moved through school and other techies joined the mix, I would then be one of the people who would pass this story along. Possibly it is tradition. Or even an initiation rite. Or just simply nothing more than a story.

Hooks, ghosts and the brady bunch

2009-04-20T08:36:00.000-07:00

Last night was the first night of MYTHappropriation and it was pretty damn exciting to see so much talent in one room.

For those of you new to the world of MYTH, Myth-Appropriation: URBAN LEGENDS is the fourth edition of Rorschach's extreme new play development project, where a group of writers, directors, designers and actors spend 6 days bringing 6 fully realized new plays to life for one night only. The plays are all adaptations of a related group of myths. Previous Myth-Appropriation projects focused on Grimms Fairytales, Creation Myths and the pagan origins of St Nicholas.

All this week we will be getting reports from the field as a different group of artists from MYTHap guest blog here. Hold on to your hats kids and don't forget to come see the event itself on SATURDAY APRIL 25!

Get your tickets here.

From MICHAEL DOVE,

Director of NO NOOKY, NO HOOKY

(Jackie Lawton's adaptaion of the urban Legend, "The Hook"):

Day One of Myth-App is here, at last. The traditional Meet-and-Great-and-Get-Your-Group-and-Myth was tonight. This Myth-App is all about URBAN MYTHS/LEGENDS. You know, those stories that live on in late-night sleep-overs, Boy Scout camps and constant e-mail forwards.

Our amazing group will be tackling THE HOOK. Ah, the eternal tale of young love in a car seat interrupted by a homicidal maniac. Who hasn’t been there, eh? Our story will be crafted by the illustrious Jacqueline Lawton (who I worked with on MYTH-APP #1), so it’s in good hands! Or, is it……..HAND?!???

I asked the actors to tell us about Urban Legends they once believed:

Megan Dominy:

SO...I was always a whiz at sneakily moving the Oiuji board when I was a child--I left nothing to chance. While playing with my brother and his friends, I convinced them that a ghost was haunting Dean, who had taken over his room.

The kicker is someone told me a year ago that trying to contact spirits in anyway, including the Ouija board, is a veritable way to incite demons. I never realized this was a risk as a child, and now I think I would be hesitant to partake in any "ouijing."

Melissa-Leigh Douglass:

Ya know, even the Brady Bunch got involved with the urban legend scene. In episodes #s 72, 73 and 74, the Brady Family takes a trip to Hawaii. And those bad Brady boys found themselves in a mess, when one discovers a Hawaiian Tabu at an ancient burial site. The cursed madness ensues...for three whole episodes.

Thank goodness those Brady boys survived, because what would the Brady Bunch be without Greg, Peter and Bobbie? They'd be left with a cute girl with pigtails, an annoying girl with frizzy hair, and Marcia, Marcia, Marcia!

Kristen Egermeier-Hampton:

I suppose my urban legend either shows the fact that ghosts are real, or debunks the myth that I am sane...take your pick. When I was around 8 years old one evening, my childhood friend Donald and I were playing in my parent's living room while my mom was on the other side of the wall in the kitchen. We both looked to the dividing wall and to our surprise was the figure
of a man in a trench coat, a brim hat, and brace yourselves, raising a knife up as if to strike. He stayed in the striking positing until, after fear, we ran to get my mom. I still look for the creep every time I visit home, he has yet to grace me with his daunting presence.

Annie Grier:

As kids my brother and I loved to toss grapes into our mouths. In an attempt to thwart this dangerous activity or maybe just to save a little cash on wasted grapes, my mother would recount the terrifying tale of grape tossing gone wrong. It all happened at a party where a doctor was demonstrating his crowd pleasing trick of grape tossing. As the crowd became more impressed with his skill he tossed the grapes higher and higher catching every single one. The grapes flew, the adults laughed and the children watched in awe, until one grape thrown high came down with such force that in lodged in the doctor's esophagus. The doctor stopped, his face turned red, someone screamed, "He's choking. Quick do the Heimlich!" The grape was dislodged and the doctor lived. He left the party deeply ashamed by his poor judgment as a medical professional and as he drove off through the dark and lonely night he vowed never to toss a grape, cherry or small tomato again. And that is why no matter what your older brother says, you do not toss grapes into your mouth.

THE MYTH IS BACK

2009-04-15T18:37:00.000-07:00

MYTH-APPROPRIATION IV: Urban Legends

Saturday April 25, 2009

at 6pm, 8pm and 11pm (3 shows) in the

WOOLLY MAMMOTH THEATRE MELTON REHEARSAL HALL

Tickets go on sale Friday!

I know a guy whose cousin’s best friend’s uncle...

Isn’t that how the story goes? Somewhere on the American landscape between folk tales and truth lays the Urban Legend. Hook-handed killers, drug-crazed babysitters and Southern fried rats, all of these stories are as much a part of the American zeitgeist as Abraham Lincoln, baseball and The Doors. Rorschach promises you an evening of tiny terrors, the unsubstantiated and the just plain bizarre. And we swear every word is true!

Myth-Appropriation: URBAN LEGENDS is the fourth edition of Rorschach's extreme new play development project, Myth-Appropriation, where a group of writers, directors, designers and actors join forces to bring 6 fully realized new plays to life for one night only. Previous Myth-Appropriation projects focused on Grimms Fairytales, Creation Myths and the pagan origins of St Nicholas.
As in past editions, DC’s brightest and most promising theatre artists from on and off stage will lend their talents to creating these short plays that will explore the magic and myths that continue to influence American and World culture through storytelling.

WRITTEN BY Ben Kingsland, Jacqueline E. Lawton, Shaun Raviv, Stephen Spotswood, Gwydion Suilebhan, Seamus Sullivan

DIRECTED BY Michael Dove, Akiva Fox, Colin Hovde, Jenn John, Suzen Mason, Matt Ripa DESIGNED BY Sam Kitchel, Denise Umland, Justine Light

FEATURING JJ Area, Christopher Buchanan, Elizabeth Darby, Chris Dinolfo, Megan Dominy, Melissa-Leigh Douglass, Kristen Egermeier, Michael Feldsher, Heather Gaither-Greek, Nick Greek, Annie Grier, Heather Haney, Jessica Hansen, Allyson Harkey, Laura C. Harris, Rachel Manteuffel, Adrienne Nelson, Francisco Reinoso, Jessica Lynn Rodriguez, Sandra Sampayo, Adam Jonas Segaller, Brynn Tucker, Edwin Xavier, Jacob Yeh

PRODUCED BY Randy Baker, Jenny McConnell Frederick WITH Kyle Jean Fisher (Stage Manager) and Elissa Goetschius(Dramaturg)

THE FETE

2009-02-28T18:39:00.001-08:00

All photos by Colin Hovde and Ross Lindsay
For more photos, click here

WHY WE PARTY

2009-02-27T07:38:00.000-08:00

Once upon a time we started the improbable journey of creating theatre. With a lot of energy and little common sense we plunged into our first real season in 2000/2001. Come Spring we had produced two shows and were starting to wise up to the idea that ticket sales alone would not carry us through the rest of the year.

Thus was born our first fundraiser. The infamous Cinco De Mayo party in May of 2001, held in my old living room on Willard Street. We auctioned off Tim Getman, the police arrived and honestly that was only the beginning.

Here's a little sample of how crazy it got:

As with all things early on, our hearts were in the right place and we had a lot of fun bringing together the community that surrounded Rorschach Theatre.

Fast forward to February 14th, 2009. Over 100 people joined us at the warm and intimate Studio Gallery. Magic Hat Brewing Company, Dogfish Head Ales and http://www.cabotcheese.com/ sponsored the event and though no one got naked, the evening was no less fun. We raised money through admission and through our Silent auction which had over 20 items ranging from Hotel Stays to jewelry to an afternoon of high tea.

We also announced our season, which you can learn a little more about here.

We'll be talking a lot more about that in the coming weeks.

But most importantly we spent the evening getting to know our community. Our wonderful and weird group of donors and fans, company members and board members, audience and admirers. Becuase building our tribe is the most important thing we can do - whether it be a kegger in my old group house or a fun and fabulous formal evening with fancy beer, wine and cheese.

Our community helps us to grow financially and challenges us to stretch artistically. And egaging that community is important, lest we forget who we are.

And that is why we party.

In the next entry we'll post some pictures of the Fete. But if you can't wait, click here to take a gander at our picassa album.

Games with fire...

2009-02-06T09:23:00.000-08:00

Deb Sivigny (Costume Designer Extraordinaire and Resident Company Member): Not only is she the benefit chair for our FIRE OF LOVE FETE, but she is also a lover of crosswords. Hopefully I'm not giving away a dark secret when I say that she is usually involved in doing 3 or 4 crosswords on any given day.

I say this as an introduction to her fabulous and fun FETE-THEMED WORD PUZZLE that that she created for you, our loyal blog readers...

FIRE OF LOVE FETE Fill-in-the-Blank!

Guess who?

Sponsors:
Cabot _ _ _ _ _
_ _ _ _ _ Hat Brewery
_ _ _ _ _ _ _ Head Brewery

Silent auction donors:
_ _ _ _ _ _ _ The Gym
Pleasure _ _ _ _ _
C _ _ duroy
S_ y _ ear
_ _ 89
T_ _ism
_ _ _ _ _ _ Yoga Dupont
_otel _elix

And many more!
Start getting excited!

Links to Linkins: Our Blogger that we Share with the World

2009-02-04T10:37:00.000-08:00

Well, folks been a while since I sat down to write an entry and I am going to work on changing that as soon as possible.

In the meantime I wanted to share a little piece on Rorschach Company member and all around fantastic guy Jason Linkins.

Washingtonian Magazine's blog has run a profile on Jason, because of his work on the blog Eat-the-Press.

Jason as many of you know is a master blogger in the realm of politics and pop culture, but when he wants to show his softer side he comes home to Rorschach. HERE is the link to the whole interview, in addition to his musings on Bob Scheiffer and bad restraunts in the Downtown DC area, I just wanted to commend Jason for remembering his family at Rorschach in his answers:

Favorite thing to do when you’re not reading or writing about the media:

“I’m an associate company member at Rorschach Theatre in DC, and I enjoy participating in all aspects of production from acting in shows to helping out with production or big PR pushes. Putting up a piece of professional theater is an audacious undertaking, and there are always those all-hands-on-deck moments where you have to solve a problem or push through a ton of work to survive and thrive. I get to do that with some of my best friends in the city. It’s intense and often insane, but at the end of the day you’ve done something meaningful with people you love and respect. And even if no one else gets that, it hardly matters—you’re a part of a very special brotherhood.”

PRAXIS THEATRE AND OTHER TANGENTS

2009-02-03T18:27:00.000-08:00

On Saturday night we moved a little farther down Queen Street to see Praxis Theatre’s adaptation of Camus’ Stranger. The space felt a little like an old-time western arcade with a wooden gallery surrounding the large open room. The audience entered on the gallery level and circled the entire performance area before descending into it where there was an alley seating arrangement and a bare stage.

I’ve never been a huge fan of Camus – his nihilism often frustrates me – but the show was a pretty terrific adaptation that seemed written to match the bodies of the performers involved. The storytelling was fast paced and choreographed with intricate precision as it moved backward and forward in time swirling around a man on the eve of an execution. It was as if his mind was left to run amok in the room. From reading descriptions I thought the ensemble acting would remind me of what we do at Rorschach, but strangely I found myself thinking of some of Catalyst Theater’s shows – Arturo Ui and 1984 come to mind.

Looking up information it seems like they did an adaptation of Master and Margarita with eight actors in 2006. Lest some of you forget, our infamous production of Master and Margarita seemed to create more war stories than anything we’ve produced. Some day we need to do a series of blog entries on the stories that came out of that production. Watching Praxis perform I have no doubt they were the theatre to tackle the story.

A tangent. Because I love tangents.
It’s strange to see so many theatres our size doing one or two shows a year. They seem to spend many months and sometimes years preparing for their events. It makes me wonder if we here on the edge of Washington Theatre spend too much time rushing to legitimacy, falling into a typical 4-show season, selling subscriptions and the like. I’d like to think that what we do at Rorschach Theatre as atypical, but we’ve also never really thought about varying the model of the season.

The trip to Toronto was a smashing success. Check on back here tomorrow for some final musings on the trip. And then on Thursday we will start focusing our posts on the party none of you want to miss – THE FIRE OF LOVE FETE.

THEATRE PASSE MURAILLE AND WHAT IT MEANS TO SEE THEATRE IN THE ARCTIC

2009-02-03T18:10:00.000-08:00

Torontonians will not be deterred by weather.

Snow and cold come what may, we walked through bustling streets, overflowing shops and bulging restaurants. Floors wet with the dirty snow of a million boots being stamped as they entered, Toronto seemed to barely register the subzero temperatures and the snowy sky.

Here’s how crazy-wonderful Torontonians are: they have a festival in the dead of winter called Winter City where they have performances and events OUTDOORS. It feels as much an act of endurance as anything else. We happened upon a cirque-like performance that blew us away (see the picture on the right)

After the stilt walkers was a salsa band. I can only imagine them thinking, “we’re a long way from South America…”

All of this is to say that what seemed to us like arctic blizzards had no effect on the attendance of the theatre we saw. We may have caught shows on popular nights, but every show was overflowing with patrons, spilling crowds out doors into the wet, snowy nights.

One of those shows was a Friday night performance at Theatre Passe Muraille, a space just off the vibrant and eclectic bustle of Queen Street. You Fancy Yourself was a one-woman show created by Contrary Company and was a “guest production” at the theatre. The theatre is housed in a cool old space - a designated historical building – that feels a little like an old brick school house.

Passe Muraille means to pass through walls and speaks to the company’s mission to “work collaboratively with fresh voices and new partnerships.” We got our tickets and went around the corner to their second space to see the result of one of those partnerships.

You Fancy Yourself by solo performer and playwright Maja Ardal was a multi-character, fast paced juggernaut of a show in which she slipped in and out of characters with ferocity. It was an interesting take on the nuances of playground politics thru the eyes of a little girl--a transplant from Iceland to Scotland. The multi-layered one-woman performance was funny, emotional, filled with songs and stories, often drawing from fairy tales and myths. The playground became a battleground of sorts, reminiscent of Icelandic sagas, full of violence and pride. Ardal's story was universal enough to draw the audience in, yet her experiences were unique enough to keep it interesting - a strange and haunted immigrant who is always on the outside looking in.

Because we're so behind on blog posts for our trip, I'm going to post our next entry in mere moments!

Fu-GEN

2009-01-29T23:30:00.000-08:00

Visiting Fu-GEN Theatre on Thursday night felt, in many ways, like coming home. Not because Randy and I were getting in touch with our Asian-Canadian roots (...we have none...) but because we felt a lot of empathy for the way this company works and the kind of work they create. With only a few paid staff members it's clear they're all working far more than anyone is getting paid for, (sound familiar?), but it's an incredibly nice group of people, full of talented artists, making really unique work. (Hopefully this too sounds familiar to our blog readers, but I'll let you guys be the judge of that.)

Fu-Gen is a six year old company dedicated to telling the stories of the Asian-Canadian community in Toronto. The play we saw, LADY IN A RED DRESS, was a new play about the Head-Tax and Exclusion Act issued against Chinese Immigrants from the 1920's to the 1940's, but with a generous helping of magic and all things other-worldy. (I'm sure their website

describes it much better than I have so click the

link, and when you do be sure to watch they animated trailers they've created for this pieces. They're really beautiful.)

Our stellar host for the evening was Byron, the Company Producer. He very generously invited us to join them for the show and Opening night celebration. We were able to meet everyone from the Artistic Director to the designers, the playwright, the staff and even some Board Members. It was a really lovely evening and pleasure to meet everyone at Fu-GEN. It's really heartening to know just how similar things are wherever you go. We share so many of the same struggles and the same thrills when our work really succeeds as theirs did on Thursday night.

The space they performed in, The Young Center, also at the Distillery District is definitely worth a mention. It's a relatively new arts center with several performance venues, generally used by itinerant young companies (like the Atlas or DCAC in DC). It has a great bar and cafe and beautiful architecture. It's a really fantastic venue.

Nightswimming

2009-01-29T23:00:00.000-08:00

On Thursday, we headed out to the Distillery District just east of downtown. The place in and of itself is really interesting--a former distillery, one of North America's largest--that's not been turned into shops, restaurants, galleries, artist's studio and performance venues. (Similar in some ways it seems to what they've done at the former Lorton Prison in Virginia.)

Our meeting today was with Brian Quirt, the Artistic Director of Nightswimming. His company, founded in 1994, focuses almost entirely on the dramaturgical process. Brian said that after initially self-producing some full productions he realized that there were a lot of components to producing that he just didn't find satisfying. He then set out to create a company where he could do just what he loved most working with a play and playwright from the very beginning, helping to shape a piece--on the playwright's own timeline--and then helping to find that piece a home at another company that will produce it. It seems they've tackling some really fascinating work with great success.

Their current venture is a 7-play cycle called THE CITY OF WINE. Written over a 15 year period the plays follow the 7 generations of the citizens of Thebes. In the last 3 years, Nightswimming has partnered with seven universities all across Canada to workshop, and ultimately produce each of these pieces. Later this month they're bringing all seven groups to Toronto to stage their pieces here and then, ideally will find a future home in which all seven plays can be professionally produced. I think we both found Brian's work and his vision fascinating. He's found a way to truly revolutionize the way playwrights and theatres work together and seems to be providing a really essential service.

Toronto & Tarragon

2009-01-28T23:00:00.000-08:00

Earlier this year, the Canadian Embassy in Washington, DC awarded the Rorschach Artistic Directors a grant to travel to Canada to meet Canadian Theatre artists and to see their work. In the icy predawn hours of Wednesday we embarked on our adventure...
Arriving in Toronto a few hours late thanks to weather delays and deicing, our first stop was the Tarragon Theatre. Founded in 1970, its focus is on developing and producing primarily new Canadian plays. The Tarragon's Literary Manager Andrea gave us a tour of their space and then sat down to tell us a little more about the Company's work.

The theatre itself is a fantastic little space tucked away on a side street a few blocks from the subway. As Randy put it, it's like Snoopy's house, it seems much bigger on the inside than it does from the outside. It houses the company's two theatre space (named "Mainspace" and "Extra

Space"). Despite have two stages, multiple rehearsal spaces, office space and a costume shop, it still felt intimate and very cosy. It reminded me a lot of Woolly's home at 14th & Church and it was interesting to see a company of that size in a venue like that.

Andrea told us a great deal about the company play and playwright development programs. Their work seems nothing short of prolific with programs that touch on every point of a play's development. After our meeting with her, we had the pleasure of seeing EAST OF BERLIN in the

Extra Space. It was a remarkably tight, beautifully designed 3-character play about the son of a Nazi soldier. All in all it was an excellent beginning to our theatre experience in Toronto.

Tuesday! Tuesday! Tuesday!

2009-01-25T20:21:00.000-08:00

On Tuesday, January 27, 2009 @ 10:00AM, Rorschach Theatre will offer an unbeatable, one-time-only VERY limited discount on tickets to The Fire of Love Fete: A Benefit for Rorschach Theatre to only our nearest and dearest friends. Join The Rorschach Theatre Group on Facebook to get all the details.

The Fire of Love

2009-01-08T13:42:00.000-08:00

Exile in Canada

2009-01-07T21:35:00.000-08:00

Just in case you missed your weekly dose of Jane's Backstage column in the Post...Rorschach is going to Canada.

Yes, it's true we're really taking this "Rorschach in Exile" thing seriously...

...and the Canadian Embassy along with the Helen Hayes Awards are helping to make it possible.

Rorschach's Artistic Directors, (along with Janet Griffin of Folger) have been awarded the Canadian/Washington Theatre Partnership grant for 2009. The grant allows the Artist Directors "to visit their Canadian counterparts and to become better acquainted with Canadian theatre and playwrights."

So the intrepid JMF and RB are off to enjoy the balmy 17 degree temperatures of Toronto in the last week of January. Winter weather aside, we're really thrilled to have this experience and are taking suggestions from any and everyone of what we should see and who we should meet in the Toronto theatre community.

If you have any friends or favorites we should get to know up north post a comment!

Happy Birthday Shane

2008-12-25T08:20:00.000-08:00

Shane's Memorial

2008-12-23T06:39:00.001-08:00

The Memorial Service for Shane will be held on Monday, December 29th at Theater J at 7:00pm. There will be a reception following at Playill.

Anyone who has photos of Shane, either from shows, work, or parties, that your would like to share, please put those on a CD so that we can have them.

Email Jaqueline Lawton, if you have any photos you would like to share of Shane.

Shane

2008-12-22T07:05:00.000-08:00

Shane Wallis died in a motorcycle accident last Thursday night.

I just spent a half hour trying to figure out how to write that last sentence. While Shane only worked on two Rorschach shows, he made a deep impression on everyone who he came in contact with. He had an enthusiasm for life that was infectious. His smooth Southern drawl and his innate sense of himself made him compelling to be around both on and off stage.

Shane is pictured on the far right in our production of Behold! He and Hugh as the bellboy consipracy theorists had some of my favorite moments in that show. "Kelpew?" And this summer Shane was with us on the Georgetown Campus for Dream Sailors. I can still see him now strumming his guitar and singing Brown-Eyed Girl with the rest of us.

While I was never in a show with Shane, I know those of you who knew him better will feel his loss for a long time coming. This has been a year of loss in DC theatre, men and women older than Shane were snatched from us this year, Shane's loss is just the capstone to a year of what seems to be pointless loss. I ask everyone to keep Shane's family and children in their prayers this year and remember him in whatever way seems best to you. If you didn't know Shane say a prayer anyway, you would have liked him.

Shane's friends over at Theatre J have also remembered him on their blog.

There will be a memorial at some point very soon in DC for Shane but his family will be remembering him starting tonight in his home state of Mississippi. Details below:

Visitation of Shane will be from 5:00pm-8:00pm, on Monday, December 22 at Riverwood Family Funeral Home, 76 Hwy 51 S Brookhaven, MS 39191.

Service for Shane will be conducted at 11:00 am, on Tuesday at Riverwood Family Funeral Home. Graveside service will be conducted shortly there after at Pleasant Hill Baptist Church, 2305 Pleasant Hill Dr SE Bogue Chito, MS 39629.

Add your own caption...

2008-12-18T19:57:00.000-08:00

Shots candid and otherwise at last weekend's MYTH APPROPRIATION: The Bloody, Strange and Wicked Origins of St Nicholas...

2008-12-11T21:47:00.000-08:00

Today's entry captures the very essence of

making theater--collaboration. Meet the Render Games Team:

Hey everybody. Danny Gavigan

here kicking things off for my MYTHap group. When we realized it was our turn to pick up the torch and contribute to

the Rorschach blog, all of us just kind of stared at the proverbial torch. None of us are big bloggers, so I proposed a tag team effort where each of us could pick up where the last

one left off. The rest of the team can either add to whatever it is I'm about to say or wax poetic about their Mister T. cereal they had this morning.With only a week devoted to only one night of one acts, I think trust has become a huge part of the process. Trust not only in each other but ourselves as writers, directors,

actors, designers, producers and those fucking dramaturgs! Because there's only so much you can ponder

when you've gotta bang out a script in a day or you've got only 10 pages to explore your character's journey or

whatever. So what I seem to always get from these quick, intensive festivals is that I can stand still and worry about it or

just jump in and believe in it, no matter what it is. And there's something to be said for that. I think it's an exercise that I could definitely use for how I approach other works. Jenn? Thoughts on that or anything else you'd like to share?

Jenn here, I love this process because you don't have time to think. You have to listen to your instincts and go with them. Last night as we walked through the scene for the first time, I personally felt that my instincts took some time to develop. I will sit around a table and talk a play to death because the first few moments of working on our feet terrify me as a director: what if nobody knows how to get started? Last night, everybody jumped in together. It was great. It's just like Danny said, the trust in each other helped us all to navigate through the first awkward staging and trust the excitement we all had in the play from the first draft. Tag, Rachel, you're it.

Here's Kathleen, who was otherwise off the hook, jumped in to say ST NICHOLAS WRITES BLOGS IN HELL! Carry on.

Hullo, it's Rachel the actor. I love this process because the plays are so short. It's like an intensive writing/scene study/improv class all rolled into one, and meanwhile we're actually creating something. Whoa. And the shortness reminds me that the whole process can be endless, that there is always more of a moment to tease out. Which is a weird conclusion to draw from an intentionally compressed bunch of theater like this, I know.
Speaking of weird, myths. St. Nick has a lot of good ones, and they're all really bizarre. Ours in particular. SPOILER ALERT: Apparently what draws the saint's attention is the baking of persons into pies. Myth Nick doesn't seem particularly bothered about punishing the evildoer, but he can't stand people in pies, and so actually gets there *after* the murder and *before* any cannibalism can happen, meaning the bit that really bothers him is the pies part, and that's the part he will undo. You have to wonder how many crimes and sorrows he walked past on his way to the pie shop in Myra. When it's Christmas-cookie baking time, I will love knowing that St. Nick really, REALLY cared about his baked goods and secret ingredients.

Francisco here... This is my first project since I left DC in July, and it's a nice way to get the acting feet wet again. I think the trust Danny mentioned is key here, and I have to say that it helps when you're in a community that you're already familiar with. Having Kathleen Akerley as our playwright is a definite plus, as she is kind of brilliant and a lovely human being, and also someone many of us have worked with before. Blend the cast, director, and designer in with that familiarity and trust, sprinkle with a dose of professionalism all around, and you've got a recipe for a delightful little Christmas concoction - frothy AND spicy! Good spicy, not the kind that make your tongue burn in your mouth and... well, you'll see. Amanda?

Thanks Francisco! Amanda here. The beauty of being last on the blog train is I just get to reiterate a few keys words that my fellow Render Gamers pointed out: TRUST, instinct, cannibalism, secret ingredients, frothy, spicy. Don't believe me? This is my second Myth-Appropriations and there is definitely more seasoning in this one. Because nothing says 'happy holidays' like some delicious baked goods. And our little band's St Nick myth follows in a great tradition of Classic stories involving the baking of human flesh, ie Titus Andronicus and Thyestes. So join us as we celebrate the Yuletide the old way, by discussing quality of life while referencing cut charts. Happy Holidays from butchers Andy and Myra! Don't piss us off, you'll end up "rendered."

Day 5

2008-12-10T20:47:00.000-08:00

This is the portion of the blog entry where I would introduce our guest blogger for the day...but in this case, it seems our intrepid blogger has gone above and beyond--even providing the artwork--and thus needs no introduction:

Hi there! This is Gwen, blogging for Team Awesome. Our team members are playwright Steven Spotswood, director Akiva Fox, designer Suzen Mason, and actors David Dowell, Erin Kaufman, John Tweel, and myself. You can't see David, Gwen, or Suzen in our TEAM AWESOME picture, but believe me we are there in spirit. We are all awesome people, and totally full of festive holiday cheer.

Team Awesome's myth is "The Night Before Christmas". This famous poem tells the story of a family on Christmas Eve. Just as the kids are dreaming of sugarplums and the parents are about to take a long winter's nap, Dad hears a "clatter" and opens the window to see St. Nick with his sleigh & reindeer landing on the roof. Father Christmas comes down the chimney, fills the stockings without a word, and drives off, yelling "Happy Christmas to all, and to all a good night!" Originally published anonymously in 1923, this poem is most commonly attributed to Clement Clark Moore, although it may have been written by some other dude. The poem is the basis of countless songs, cartoons, and pop culture references. You can read about it on Wikipedia here. or the full text of the poem here.

Would you like to learn more about our Awesome Team members? I bet you would.

Writer Steven Spotswood grew up somewhere exciting, went to Catholic University, and totally got married. This is his first foray with Rorschach, although he has written plays for the past two Fringe festivals. Steve has found a bevy of holiday-tinged inspiration in the "Night Before Christmas" poem. It especially struck him that a man who commits serial breaking and entering via chimney, leaving special presents for little boys and girls with the tacit approval of their parents, is more than a little creepy. Steven's play explores the premise that these children would grow up to be psychologically scarred, more-than-a-little effed up adults.

Director Akiva Fox grew up in Boston and had a sparkling youth marked by many adventures, including Teen Jeopardy! and supporting roles in high-school musicals. Now he lives in DC and has a job at the Shakespeare Theatre Company, where he manages a lot of words by dead guys. Despite being vehemently Jewish, this is not his first Christmas-themed theatrical adventure, having directed a deconstructed holiday Hamlet last year in a freezing warehouse.  Akiva's parents have in recent years begun decorating their house the greatest non-Christian lighting display in the Western Hemisphere, featuring a giant glowing dreidel. It's seriously like the biggest I've ever seen.

David Dowell studied theatre at SMU, acts here in Washington DC, and is engaged to a lovely lady named Brittany who interns at Arena Stage. David's most vivid holiday memory is from a family visit to "Santa's magic grotto" at 12 with his 10 year old brother and 2 year old sister.  After an eternally long wait, they sat on the lap of a nice, rotund, elderly Santa for a photo. The sister got terrified and started wailing her head off, and David tried to calm her down as his younger brother grew more and more embarrassed. Of course the picture was snapped at precisely this moment, capturing Santa, the only person having any fun in the picture, laughing his head off at a group of miserable children.

Erin Kaufman fled to DC from the wilds of Cincinnati, OH - under the assumption that Washington, DC was much closer to the ocean than it actually is. DC charmed her, despite it's non-oceanic vistas, and she stuck around. DC is also the place where Erin's first ever Christmas tree experience happened this last December. She was nearly crushed to death by a rogue Christmas tree in the back seat a rather small car. Christmas tree related scratches and bruises having long since healed, Erin is quite enjoying the deep exploration of the Christmas spirit that Rorschach MythApp is providing for her.

John Tweel has participated in Mythapps Past, as well as 365 Days/Plays for Rorschach.  He works at a very important and responsible yet mysterious day job, and has extremely well-maintained pectoral muscles. He will happily grow any sort of elaborate facial hair for a theatrical production, including but not limited to goatee, soul patch, soul goatee, full beard, fumanchu, mutton chops, and 70's porn stache. Similarly to David, John had very memorable visits to Santa in his youth that involved laughing mercilessly at the tears and terror of younger siblings. John's grandmother is very important to him.

And for myself, I grew up in Frederick, went to University of Maryland College Park, and live in a delightfully bohemian apartment with Bikram yoga teacher and Rorschach company member Yasmin Tuazon. My birthday is on Christmas Day, which makes it difficult to have any sort of birthday gathering with friends. One year my mom threw me a surprise party in February, long after I had given up for the year. The least exciting was when I turned 21, which I celebrated by having a small glass of Bailey's in my parents' basement and then going to sleep. That being said, I love the holidays and am looking forward to celebrating this one Rorschach-style.

Thanks for spending some time with Team Awesome! Over the next few nights, we'll rehearse and polish a fabulously Christmas-y play for you to see on Saturday night. And as a special bonus, here is a touching and appropriate gallery of small children being traumatized by a large man in a red suit.

Bold Choices

2008-12-09T20:06:00.000-08:00

Today's blog entry is brought to you by the fabulous Matt Ripa, director of St. Nick by Adam Segaller. Before I turn the floor over to Matt, I do have a quick bit of news for everyone. Due to circumstances and bureaucracy far beyond her control, one of our directors has to bow out. We're sorry to lose her, but delighted to welcome Lee Liebeskind who will co-direct The Krampus at Home with playwright Seamus Sullivan.

And now without further ado, I bring you Matt Ripa:

“Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” Goethe spoke these words and I cannot help but think about this idea of “being bold” during this heightened and condensed process. The process of writing, directing and performing plays in a week is a daunting task filled with the unknown. One of the beautiful things about theatre is the journey into the unknown every time we embark on the creative process. Ultimately the artistic process it is a crazy leap of faith. To think that we are going to create 10 minute plays in a week that people are actually going to pay to see is ridiculous. But, during the first day of this process, Randy and Jenny told us to think big and to attempt fully realized productions with total design. I think that we all took these wise words and ran with them.

Our playwrights have made big, bold choices. The scripts were awesome. It was amazing to hear all of the plays tonight and to realize that they were written in a matter of 2 days is phenomenal. The plays range from the meaningful to the ridiculous. From the darkly comic to the touching tragedy. They include everything that is glorious about theatre. Holding that mirror to the audience and that shattering it before their eyes.

There is also something to be said about the energy of a group of artists from all different backgrounds and styles coming together to create performance. From the first meet and greet to the read-through tonight, the energy in the room has been positive and inspiring. This positive and creative energy has been infused in the stories that are unfolding in the scripts. My original nervousness or fear has been completely replaced with excited anticipation of the possibilities of creating live theatre. This is guerrilla theatre. Gritty, dirty, and immediate. And this is when theatre is its best, when it is immediate and vital. That is the theatre that I love to create.