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there's no business like it

So Ms. Meowvatar and I are talking about kids' theatre. She acted in one, co-founded one and I designed in two. Yeah, I acted too. But I can't match her lying in bed with a hidden script, waiting to be offed by the main villain so she could come back to life for the curtain call. [I've done that, too.]

My home theatre in TX has just finished another annual production of our Summer Youth Theatre program. We audition kids [just like the bigtime], they come in to do classic scripts, they play the leads, we support them with adult directors, with actors in older parts, and with our stable of pro designers.

This year it was Richard Brinsley Sheridan's "School For Scandal", a Restoration Comedy [17th century.]

A photolink was just put up by one of the kids, it's at Flickr. On there also, you'll also find a bunch of pictures from much more adult productions and parties. The bodypainting is delicious......kids aren't quite ready for this.


Careers have started there *is very proud of them all*


( 4 comments — Leave a comment )
Aug. 8th, 2008 06:45 am (UTC)
Oh dear, it would be LOVELY if I co-founded Younger Generation Players; alas, I was just a founding MEMBER (as in, original member; I was like all of 10-11 years old and unable to co-found anything, I assure you!) *grin*

The rest you got right, though.

I'd like to hear more about what you've done, Brad, whether it was acting or incredible skills with lighting or whatever. Because you haven't talked much about acting but you sound like you're a stage manager's dream come true!

It sounds wonderful. I haven't clicked on the Flickr link yet; I'll do so after this comment. :)
Aug. 8th, 2008 07:53 am (UTC)
Wow, Amy, "dream come true"?? *curls up into small ball*
Maybe that's accurate except when *I'm* the SM or ASM. Then I tend to growl a lot *purrs*

Not much to tell you acting-wise; state championship cast, twice, in HS, one-act plays, we got to go to our Regional Theatre Festivals both years, a VERY big deal. Spent awhile in New York right after college and I was surprised one night when somebody came up to me and said that he was in my "fan club" re acting, I fiddled around a little with comic parts and didn't think it was any big deal. Remembered the shows, though: "The Curious Savage" by John Patrick, and "Arsenic & Old Lace". The really big adult highlight for me was after I'd designed lights for an original show at The Vortex and the writer asked me to be in the indie film adaptation he was making. He got a lot of funding and brought in a pro crew from Dallas and filmed all night for maybe five nights in the theatre.

Part of this was by default because I was also the Associate Location Manager since nobody else in The Vortex wanted to stay up all night! So we had all these TONS of food brought in for the midnight ande 4AM breaks, new food each time, all union rules. The extras usually tied on the feedbag and then went to sleep somewhere or disappeared. So bit by bite I worked myself up through the ranks and then they focused the cam on MEEEEE !!

I couldn't say anything b/c it would have required union scale pay [think it was something like $750 / hour] [one word minimum] but the whole experience was unforgettable. In one scene I had to sit at a bar and look morose and bereft and jilted. I found out why nobody actually drinks anything in those scenes, what's in your glass looks like old stale tea [blended for the color registration] and that is precisely what it is. *gets queasy with the memory*

In that setup they moved the big cam right where the bartender would be and the ADP comes with this tiny tape measure and pulls it out from the cam chassis and touches it to my chin and it made me feel like McConaghuey or Sir Ben Kingsley or something. Didn't wash that place on my chin for a week!

Offscreen I spent most of the time hanging out with the pro techies to learn all I could about film lighting --- it's quite different from stage because cam lenses and film stocks are so very limited when it comes to what your iris and retina and brain can do when you sit in a live audience and watch a storm break over you. [We were *not* shooting in digital.]

The film eventually got entered into the Berlin Film Festival, even, and into GLAAD's, and then disappeared. But the food sure was good.

Lots more to tell you re theatre techie highlights and I'll scoot over to your LJ box to leave you a PM there --- soonish, b/c the priority right now is packing for Olympia [the other side of the country] and Jerusalem [the other side of the world.] Brad goes on location again!
Aug. 8th, 2008 08:38 am (UTC)
Oh man, well I don't know why you'd be impressed by anything I did; you're the real deal! Yes, I got leads in really small potatoes stuff. You were in BIG TIME productions, so that counts for more brownie points. :) Which film? That's all so exciting, Brad! And why aren't you still doing this, may I ask?
Aug. 8th, 2008 09:50 am (UTC)
O Amy that's *much much* too heavy on the brownie points!

I dunno about this big time production stuff at all.

The film was "The M.O. of M.I." by Aaron Brown, another VORTEX company member. I'm sure you never heard of it. But it's probably somewhere on the website .... I had designed the lighting for the stage production, that was my entry to the film.

You bet it was exciting in the moment!!! !!! Because at the time no one of us was sure how far it was going to go ... still cooking around in there somewhere!!

It's all a POV of scale. We told each and every one of our kids --- dancers and actors --- that when they were onstage THEY were the most important thing, somewhere in each audience someone was *always* looking at them, relatives or not, so they were important as individuals and as part of the team of artists creating *magic moments* onstage.

And if nobody ever told *you* that as a kidlet, they should have.

So I'm doing it now!!

Why I'm not as active in theatre now: it eats a lot of time [physical production does] and I've kinda moved into writing. That is the funny part b/c my scripts tend to start off with six + pages of stage and lighting directions O.o to the point where one of my directors said, "Where's the first line?"

I actually produced and directed and designed -- and *acted in* ---- the first scene of a long play I'd written. For a class exercise [pro class, too.] I was a girl hallucinating crashing inside a damaged jet fighter as a metaphor for her own body. You don't know if she really dies or not. [This was before I'd met Kiota, by a couple of years.]

Very unsatisfying. No perspective at all when you're wearing that many hats. I'm ecstatic they didn't tape it!
The lighting sucked because the techie that ran the board just didn't care.

A real highlight was being invited to take workshop in NYC with a bunch of pro actors / actresses, taught by Stolen Chair http://www.stolenchair.org all having to do with presentation of gender-bending roles where one of the exercises was to walk around the stage in your idea of how you would move in the body of a sex other than your own --- and watch the interactions develop [all 10 of us onstage at the same time.] Switch sexes back to your own, and exaggerate. OMG Amy it was unforgettable. We ended with designing and presenting a couple of short scenes, all impromptu and spontaneous, in front of one another [casts were 3 to 4.] Each of us played both sexes in the same scene (different entrances). It was totally amazing. It was linked to a new script they were developing for their company. Which went on to be a hit sellout.

Come to think of it, THAT was prob pretty bigtime! You'll see if you poke around their website ....
( 4 comments — Leave a comment )


kiota too late for the stars
Moonfire Marion Bridge / Brad

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