1001 Gets Some Love

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!

DC Theatre Scene Audience Choice

Last year I asked you to vote for one show and one actress in the DC Theatre Scene Audience Choice Awards, this year things aren't that simple. This year you have to vote for two Rorschach shows and two Rorschach actors.

Congratulations to the playwrights, casts, directors and designers of Kit Marlowe and This Storm is What We Call Progress for being nominated for the Audience Choice Awards. And an extra helping of congratulations to Rorschach Company Member Karl Miller star of Storm and Kit Marlowe himself Adam Segaller.

Lorraine at DC Theatre Scene says:

People have already started to cast their votes. Feel free to encourage everyone to vote. Use the above graphic, if you wish. The poll closes September 2nd at 6 pm and will be quickly followed by our Awards radio show.

So get voting people. Explore all you want the other nominations and remember you can vote over and over again.

VOTE HERE!

While We Are Waiting

Randy, Colin and the crew are getting love out there in the world for Dream Sailors. First DC Theatre Scene, by way of Lorraine Treanor sends this love their way:

Actors Tony Bullock, Rex Daugherty, Lindsay Hanes, Casie Platt, and Grady Weatherford are doing excellent, convincing work with Shane Wallis a standout among the rest of the ensemble.
As all dreamers know, dreams aren’t static. These flash by, melt and merge into one another thanks to the creative team: Colin Hovde contributes great casting and brisk pacing; set designer Hannah J. Crowell designed a series of panels strung with what look like dried rice noodles (but aren’t) guided by quick footed stage hands, which quickly sluice through the front stage forming different slices of space; and the eerie quality to the dream and waking states are made vivid by the lighting and sound designs (John Burkland and Christopher Baine respectively).

Read it all HERE.

Then Stephanie of the Going Out Gurus over on the Washington Post Blog has this to say:

"Dream Sailors" makes it easy to jump in midway. I went to the second episode without seeing the first and found out that I could watch a "previously on" video on both the Rorschach blog and at the theater before the show began. Rorschach also provides a cheat-sheet with the list of characters, so it's easier to keep everyone--and their bizarre dreams--straight. Earlier episodes will also be reprised if you decide you want to see it all from start to finish.

Read it all HERE.

Grady is working on the next Dream Sailors Trailer. For those of you who are looking for some Dream Sailors' scoop, read on:

Rumors are abounding on the set of Dream Sailors as to a mystery romance. Nothing is confirmed, but a lot of time is spent on the Georgetown campus seeing glimpses of rising star Rex Daugherty and sophomore Rorschach actor Lee Liebeskind holding hands and laughing together. One stealthy paparazzi even caught glimpse of the duo embracing in joy for one another. Last Saturday they were the only two actors playing "Frisbee" together. This reporter attempted to contact each actor for comment but was turned away by their agents. I did get in contact with Lee Liebeskind current "Girlfriend", Megan Reichelt, and was told that "...their relationship is fine and that there are no issues." From her tone of voice on the phone, I am not sure I believe it.

Dream Sailors Premieres and Reviews Keep Coming in for Skin

Episode 1: Jacob's Fence of Dream Sailors, opens tonight and continues through Sunday. I think that you all know how excited we all are to be producing Randy's new show. This fantastic cast has worked their hind-quarters off to bring this special World Premiere to life and they will continue to work their asses off for the next 5 weeks. Don't let them down and get your own ass over to see this special show.

Debbie Minter Jackson, is the second to chime on The Skin of Our Teeth on DC Theatre Scene. While not fully impressed with the show, Ms. Minter Jackson does have some kudos for the cast:

McCormick portrays the father figure with a self-assurance and swagger. Whether he’s right, wrong, just, unfair, sporting Spitzer-like arrogance, or humble-pie humility, McCormick carries it all and is exciting to watch.

Wyckham Avery as his Edith Bunker-like wife seems to acquiesce, twisting and turning to his every whim, but shows glimmers of reinforced steely strength when you least expect it-one can only pity the fool who dares to mess with her family. Cesar A. Guadamuz plays Henry, whose original and official name is apparently Cain, replete with plenty of underlying hints about his tendency to throw rocks at people in uncontrolled rage, so you know where this is going.

Simone Zvi plays the dutiful though precocious daughter Gladys, and Jjana Valentiner rounds out the cast in the pivotal role of Sabina, with a bright-eyed appeal.

Read the rest HERE.

Another Review from the Interwebs

See there are reviews and then there are Reviews. This is a Review. Tim Treanor from DC Theatre Scene joined us on Friday night for This Storm is What We Call Progress. And before Saturday was over he couldn't help but gush a little. Follow the link HERE to read all of Tim's accolades, including this:

At bottom, it is a celebration of passionate love, which is surely a manifestation of the invisible universe, and an exploration of paradise lost, which is always the consequence of knowledge. It depicts both with such skill and specificity as to make this play moving even in the absence of its fantastic backdrop and story line.

There is much more sugar for everyone else, so read all the review.

Also Jason Grote once again has responded to his critics and ours on his blog. He also gives a good deal of insight into what Storm is about. Read more HERE.

Serotsky's In Flight, Afternoon Delight

See I made a Starland Vocal Band joke out of Shirley's last name. And who says puns aren't funny?

Anywho, here are the answers that Shirley gave to DC Theatre Scene for their feature on Helen Hayes Nominees. For further reading visit them HERE.

I read something somewhere that Shirley was concerned about sending them a picture. I personally think that Shirley couldn't take a bad picture if she tried. But I'm just the Moon what do I know?

Shirley Serotsky, Outstanding Director
References to Salvador Dali Make Me Hot, Rorschach Theatre

Why this play?

I have wanted to work with Rorschach since I saw their production of LORD OF THE FLIES in 2002. I dig the gutsy, visceral work they do and Casa Del Pueblo is an exciting, provocative, challenging space to work in (may it rest in peace). Then I read the play. And it was stunning and beautiful and difficult and heart breaking. And daunting in the way that it combined a completely theatrical world with talking cats and dancing moons with the gritty, realistic, kitchen sink drama of two people who are totally in love but failing miserably at making that love work–trying desperately to come together and love each other again. And I thought it would be really hard to meld those two worlds without discounting either one of them. And the more I do this, the more I realize that the greater the challenge the greater the pay-off.

Most difficult scene

The quick answer is the sex scene, because it was the first time I’d directed an all out sex scene, and those are just tough–both technically and emotionally. Because it is such a personal thing and there you are putting it on stage. And the audience is two feet from Gabi and Andrew’s heads, and it might be your grandmother sitting in that seat. And where does Gabi throw her shirt so that she can find it later? And what happens when the wooden fence/bed creaks? And will they get splinters? And why does the damn sheet keep coming off the corners? As it turned out however, I think the two Benito/Gabriella scenes were simultaneously the hardest and the easiest to “get”. Because we can all connect with the relationship struggles that these people are going through, on some level we get that. We KNOW that. But because of that, it’s just not a fun place to go to for hours on end, night after night. And it was a challenge to find the shifts in the landscape of their argument, the rises and falls, the flare-ups and the moments of breath, so that it didn’t sound like one long rant.

Surprise

I think the most surprising thing happened during auditions, and that was finding Gabriella in the first place. I’d had artistic directors of several theaters in the area say, “We thought about doing that play but were not sure we could ever cast it”. And here’s Rorschach, a small theater using all non-Equity actors, trying to do the play justice. And that meant finding actors for several of the roles that were, indeed, Latino. I knew Andrew was of Columbian descent and have admired his work for years, but I did not know if we would find an actress with the chops and background and spirit to play the role of Gabi, not to mention the fact that everyone in the play has to totally fall in love with her. And there was a somewhat exhaustive search. And then like, three people emailed me Gabriella’s info. And she came in and she tells us she’s of Puerto Rican decent, born there and raised here, and she’d lived in New York, and she’s gorgeous, and then she read the side and left the room and I think Randy and Jenny and I looked at each other and said, “We can’t let her leave the building. If we have to kidnap her and keep her here in Casa for eight weeks we will do that, but we have to have her in this play.”

Favorite moment

Ahhhhh. Hard question. I can’t pin it to just one. I loved the Moon’s tuneful serenading and melancholic speeches from up above. I loved the eerie moon-glow light when he landed on the ground (thanks Andrew and Connor). I loved the perfect tango music (thanks Matt!). I loved the look in Martin’s eyes when he was peeking over the fence. I loved the Moon/Martin fight with the belly check (thanks Grady). I loved Cat coming back from her torrid night out all rumpled and wheezy and then climbing into the cupboard. I loved many moments that Robbie Haye’s brilliant set made possible. I loved Coyote’s tight, tight jeans (thanks Pei) and his passionate howls and heart-broken ghost. And, okay, look, it got to a point where watching Benito and Gabi interact was so laden with charged moments that now, reading back over the script, I can’t pin just one. Seriously, I loved watching those two. Can you tell? I loved this cast, I loved my design team (and I have to thank Tim Getman for putting that together). And I have to also say, I couldn’t have done this show without guidance and wisdom from Jacqueline Lawton’s dramaturgical input and overall smarts and clear-headedness.

If you could work with anyone in the theatre, living or dead, who would it be and why?

This is also tough. It’s like that dinner party question–where you have to think, certain people made really awesome contributions to history and to the world–but would they be good conversationalists? Likewise here. Just because someone’s brilliant doesn’t mean they’d be fun to work with. But I had an a-ha moment while up in NY earlier this week.
I’d like to work with my twin brother, who is an actor. Because he’s smart and talented and we shared a womb. I mean, with the short hand (secret twin lingo, right?) we have I think it would at the very least save time. And that would definitely make it into my parent’s holiday newsletter. I mean, I hope. Mom?

Next

CRUMBLE (LAY ME DOWN JUSTIN TIMBERLAKE) by Sheila Callaghan with Catalyst Theater Company, running May 7-June 7. And yes, JT does make an appearance. Several, in fact.

Post 600

Well that is a relief. I have been dragging this announcement thing out for weeks and it appears some of you were actually interested.

Today I can switch gears for just a moment to celebrate the 600th entry here on the Ole Blog.

Wow! We are pretty damn amazing!

I know other theater companies have blogs and some of the other roundish theater companies in DC have even started to run their own trailers. Many of the innovations that have made us unique and ground breaking now seem par for the course, but you know what, we are just going to try harder.

We didn't invent the blog and I know other folks had done play trailers before us, but the thing that has always marked our endeavors is the use of limited resources to bring something together on a regular basis. Just like our shows we find a way to make art that matters and do it for nearly nothing at all.

At this point I want to direct your attention to some of the other coverage we have been getting around the interwebs since yesterdays announcement in the Post.

Our friends at DC Theatre Scene picked up Jane's article and ran a brief piece yesterday morning, Rorschach in Exile (see branding works.)

And dear sweet Missy Frederick at the DCist seemed down right excited in her piece yesterday announcing our big plans in Rorschach Gets a New Home (For Now).

Missy do us one small favor though, could we not use the word scrappy for a little while. It has the connotation of a small annoying dog brought in to an otherwise enjoyable show about youth culture, love triangles,vans, mysteries, Great Danes and drug use.

And for forms sake here is a link to my favorite blog entry of the last 100, which many of you probably missed the first go around because it came out at Thanksgiving, I call it Thanks for Not Snitching. Enjoy!

So here is to the next 600 blog entries! God help us all!

I Wonder if They Were at the Same Theater

How do two reviewers have such opposite reactions to a play?

I start you out with a critic's love letter to Kit Marlowe from Tim Treanor over at DC Theatre Scene. Tim encourages folks to stop reading his review and rush out and get their tickets right away. He goes on to say:

Kit Marlowe flies, with scenes intercutting each other with such facility that they conjure up images of a circus act, with high-wire acrobats.

And what does he say of our cast and in particular our own Kit? Well he has praise indeed:

Segaller is fabulous in the title role: his Marlowe is a man who is constantly giving the whole world a sloppy wet kiss. He may affect cynicism, and he may be cruel, but Segaller’s Marlowe is at all times a huge engine of life, joy and laughter, and there is not a moment in which it seems less than authentic. Indeed, his performance makes me remember the young Tim Curry, playing Mozart in Amadeus thirty years ago. It is that good.

The rest of the cast measures up to this incredible work.

Follow this link to read it all.

But now on to someone who has less praise to show our show, and that would be Nelson Pressley over at The Washington Post.

Nelson just doesn't think that we soar as high as the script does. He does however find some praise for the script and our production:

Grimm appropriates Marlowe's trademark power as often as possible, especially as the story turns dark.

. . . it played several years ago in a campy, over-directed production that the playwright was moved to shut down. At least the play looks more substantial this time -- and for the ravenous Marlowe fan, it will serve as a decent appetizer for the meal to come.

Read what else the Post had to say here at this link.

Housekeeping

There are so many things to remind you about before you all take your 4 day weekends.

Keep voting for References to Salvador Dali Make Me Hot and Gabriela over at DC Theatre Scene. References . . . has a slim edge in first place but Gabi has slipped to the middle of the pack. Make sure everyone you know who loves Rorschach is voting, we can win this one. Click HERE to vote.

Page to Stage at the Kennedy Center this weekend and while there are many plays getting a first read this long weekend, there are none so important as Randy Baker's Dream Sailors. Sunday at 5:30 pm in the Family Theatre. Click HERE for all the details.

Also this weekend the playwrights will get their assignments for Myth-Appropriation: The Brothers Grimm. Then rehearsals start in earnest Monday for a one night only event next Saturday at 8pm and 10pm at Casa. Tickets are just $10 and can be ordered on-line HERE or call 1-800-494-TIXS.

Hope you have been having fun with the How Rorschach Are You? on-line poll. Let me know how you are scoring in the comments area and if I can suggest ways to improve, let me know.

For tomorrow I am working on something special so check in before you head out. All the best, and I am out!

Help Us Win Something for a Change!

I have never been one to try and interfere in elections. I was accused of voting irregularities when I ran student government elections in college. I was cleared of all charges and was given a half hearted apology by the man who did the accusing. That being said I think Rorschach has a shot at winning an on-line poll and I am not demanding your vote but we would appreciate it.

DC Theatre Scene (née DC Theatre Reviews) has created a sort of DC People's Choice Award. They asked all of their staff and critics to list their favorite plays, musicals, actors and actresses for the 2006-2007 Season. They then took the top three choices from each staff member and created an on-line poll to choose a people's choice.

Well Rorschach is up in two categories, thank you very much Ronnie Ruff, Best Play - References to Salvador Dali Make Me Hot and Best Actress - Gabriella Fernandez-Coffey for References . . .

Now I am not telling you that have to vote for us, but since you are apparently interested in Rorschach enough to read this blog, I think you might take a minute to help us win something.

Here is what you do:
1. Visit DC Theatre Scenes home page by clicking HERE.
2. Scroll down until you see the on-line poll section.
3. Click in the bubbles next to References to Salvador Dali Make Me Hot and Gabriella Fernandez-Coffey.
4.You need to click the vote box at the bottom of each category.

If you want to vote in the other categories feel free, but we need your votes in Best Play and Best Actress. I can't make you vote for us, but References . . . was such a special show and I know that we loved putting it up, we hope you loved it as well.

The Free Press

Let's try this again. Above is a bit about the birds from Jolene Munch at The Examiner. She saw the show on Saturday and in the Weekend Section of The Examiner she has made birds her #1 pick for best theater in DC. While the review is short and sweet, her final sentence sums it all up:

Wendy McClellan directs a gallant cast who deliver Maisel's stunning revelation in a production that demands we forget about living happily ever after.

There is also some nice words from our friends over at The Express (The Washington Posts free daily). Erin Trompeter writes:

Those on the aisle be warned: You may be propositioned.

Here is the link to the whole shabang but you might want to pick one up yourself.

Yesterday there was a nice piece in the Back Stage Column of the Post. Jane Horwitz spoke to both birds playwright Jennifer Maisel and director Wendy McClellan. Here is the link (be sure to scroll down past the stuff about Olney and Jimmy P.) and here is my favorite quote from Jennifer:

The Los Angeles-based Maisel, whose "The Last Seder" was produced at Theater J in 2003, says one of the themes is making connections across class chasms -- "you see the homeless person and say, 'That was someone's baby.' "

What else we got you may ask yourself?

There are two mixed reviews from Potomac Stages and the newly rechristened DC Theatre Scene.

It is Hemmingsen, however, that takes possession of the stage each time he's on it. He's a homeless man with a surplus of common sense and a touch of magic of his own. When Valentiner donates one of three of her boyfriend's overcoats to the homeless man she sees on a bench every day, he begins a transformation into a sartorially splendid, suave man about town. Through it all, he remains fascinating to watch. -Brad Hathway- Potomac Stages

Enter a menacing but friendly ogre, in the form of a homeless man, Gus, (Brian Hemmingsen). Along with the prostitute, A, (Marissa Molnar), who hustles a stranger in the audience, these two street characters seem to have a better grip on the real world than do our hero and heroine, living in a high-rise dream. Maybe all four characters are one and the same? Jorie tells us she feels dislocated and bought, just as A does. James is jobless; Gus is homeless. Aware of their sameness, Jorie and James throw a cocktail party, invite and share their lives with A and Gus, who allows his hair to be cut and dresses up in a business suit. In the play’s best moments, the four characters swap roles and interact as if they accept their oneness as a family and the city as home. - Rosalind Lacy - DC Theatre Scene

I will continue to bring you the words of the critics and Rorschach fans alike here on the blog.
Do you agree with the reviews or do you have an opinion of your own. Tell me what you think about birds. Email me here and we can talk.

Sincerely,
Scott "The Mad Blogger What Blogs at Midnight" McCormick