Got a job as God recently...
Actually, a friend was having a reading of Bruce Jay Friedman's Steambath, funny and dated play from the 70s.
Tried out for a part in it as a hoot - since I saw the play on PBS in the early 70s, always had a fantasy to play the part of God, a Puerto Rican steambath attendant. Don't audition much and don't think I looked that impressive. Weeks went by during which I didn't think much about the audition - at that point was sure I wasn't cast.
Then the director (Eric) contacted me to tell me I didn't get my coveted part, but I had a part - Bieberman, the least attractive guy in the cast. Was game to do it anyway.
Just before the first rehearsal, got an email that God had quit (and why wouldn't he) as He was moving to Burlington VT (and why wouldn't He), offering me the part. So now am playing God, unmetaphorically speaking.
Rehearsals went well... we had a surprising number for a script-in-hand reading. End result I felt like I was the biggest liability in the cast. Sure that a playwright shouldn't mix in and try to perform (example, wasn't very impressed with my work on the show we did in the Spring either).
However, when the audience was there, they laughed with us a lot and all had a splantasmic time. It all stunned me, suddenly I was playing a lead role in something that people liked. Gotta tell you, now I understand why actors stick with this business... if you can finally get a chance to reach any kind of audience, it's an amazing experience. Nothing like it.
So if you're in the Brattleboro VT/Chesterfield NH area tonight (Aug 23 2008) come see the show. Sure, it's quite sexist in its portrayal of its only female character, but it does have a raft of big laughs - with me as God.
Saturday, August 23, 2008
Monday, June 09, 2008
New Works of Merit / Sade
So I get, again, after asking to be removed from their email list 3 years running, yet another email about the "New Works of Merit Playwriting Contest." This is a particularly egregious example of a writer rip-off, for reasons far too numerous to list in full, but let's begin with their "$25 entrance fee." Yea, the O'Neill has been charging an entrance fee for uninvited writers (a group to which I still belong), but at least they bothered to develop a reputation before skimming lunch money off said writers.
This contest is run by 13th Street Rep, a company that certainly have "established" a "reputation" for themselves (their last produced original work of merit being the play "Line" by Israel Horovitz back in the 70s - or was it the 60s?). Which I believe is still running there??
I checked on the Web to see how many others have been warning against entering this contest... OK, perhaps they actually do offer the winner of this contest a reading at their theatre. They probably even fund that $300 check the winner receives... note that I didn't bother to fact check this by contacting those winners, but let's give them the benefit of doubt.
Then I noticed this additional note on their entry page:
TO RECEIVE EVALUATIONS OF YOUR SCRIPT: One Evaluation .... $25 + $25 submission fee Two Evaluations ... $50 + $25 submission fee
$75 for "evaluation" services. These must be highly qualifed dramaturgs, folks. And what a refreshingly original way to offer this dramaturgy service.
The best moment reading their website was the statement that the moderator, who is also the "executive producer" at 13th St. Rep, is a member of the DG.
Note she's still a member - they don't return her check. Perhaps it is funded at least in part by this contest?
After reading this blog post, playwrights, if you still feel the need to send out a check for $75 because you wrote a play, what the hell, send it to me. I'll write you a better critique, I bet, and would use the money toward a real play production, not to fund my rent, liquor bill, or membership in the DG.
This contest is run by 13th Street Rep, a company that certainly have "established" a "reputation" for themselves (their last produced original work of merit being the play "Line" by Israel Horovitz back in the 70s - or was it the 60s?). Which I believe is still running there??
I checked on the Web to see how many others have been warning against entering this contest... OK, perhaps they actually do offer the winner of this contest a reading at their theatre. They probably even fund that $300 check the winner receives... note that I didn't bother to fact check this by contacting those winners, but let's give them the benefit of doubt.
Then I noticed this additional note on their entry page:
TO RECEIVE EVALUATIONS OF YOUR SCRIPT: One Evaluation .... $25 + $25 submission fee Two Evaluations ... $50 + $25 submission fee
$75 for "evaluation" services. These must be highly qualifed dramaturgs, folks. And what a refreshingly original way to offer this dramaturgy service.
The best moment reading their website was the statement that the moderator, who is also the "executive producer" at 13th St. Rep, is a member of the DG.
Note she's still a member - they don't return her check. Perhaps it is funded at least in part by this contest?
After reading this blog post, playwrights, if you still feel the need to send out a check for $75 because you wrote a play, what the hell, send it to me. I'll write you a better critique, I bet, and would use the money toward a real play production, not to fund my rent, liquor bill, or membership in the DG.
Tuesday, May 27, 2008
Videos of Sweet Cantatas now up on YouTube
These are from the Sunday 2PM matinee on the last day of performance. The performances are mostly solid (though there's some "rule-breaking" on the Mot Juste piece - an actress making extra sounds). The usual caveats about video'd live performance - though I boosted the sound, it's slightly blurry at points. And the video can get blocky or fuzzy.
But it's cool nonetheless. Have a look!
http://www.youtube.com/user/bobjudeferrante
But it's cool nonetheless. Have a look!
http://www.youtube.com/user/bobjudeferrante
Sunday, May 04, 2008
Great night
Saturday May 3 was a fantastic performance of the show (called Sweet Cantatas). We had a big turnout for Brat (almost 100 people, I know, nothing for NYC but a lot for up there). And they were enthusiastic, laughing, clapping. Great support, great turnout, great night.
Sunday, April 20, 2008
Rehearsals
What have I gotten into? Originally I booked the NEYT theatre space with the intention of presenting an evening of my own work. Sort of an intro to the work to my hometown. Seemed like a nice thing to do.
Between the date the show was booked and the date it was to go up, I began a project with NEYT called the Performance Writers Lab. It's similar to the labwork I've already talked about here, done in Brattleboro not NYC, that's really the only difference. Otherwise the usual drill - a chance to foment new projects, hear new work, give writers a chance to bring in fresh pages and hear them for their music; chance for performers to practice their cold reading chops and maybe, just maybe get a line on a new part in a new project. And of course, all done at no charge to anyone, and with respect for the playwright and performer always paramount.
Then figured, well, jeez, since I have this project date all set up, why not make it about the lab work, rather than just an evening of my work. So it went from doing a full-length of mine to doing shorts (again, with the shorts) of my own and the work of other writers.
Then I had trouble getting a director who'd do the project so decided to direct the pieces.
So here I am now, in typical all-hectic mode, scheduling, directing, and even performing in several short pieces. All going up May 1-4 here in Brattleboro.
Hooboy.
Between the date the show was booked and the date it was to go up, I began a project with NEYT called the Performance Writers Lab. It's similar to the labwork I've already talked about here, done in Brattleboro not NYC, that's really the only difference. Otherwise the usual drill - a chance to foment new projects, hear new work, give writers a chance to bring in fresh pages and hear them for their music; chance for performers to practice their cold reading chops and maybe, just maybe get a line on a new part in a new project. And of course, all done at no charge to anyone, and with respect for the playwright and performer always paramount.
Then figured, well, jeez, since I have this project date all set up, why not make it about the lab work, rather than just an evening of my work. So it went from doing a full-length of mine to doing shorts (again, with the shorts) of my own and the work of other writers.
Then I had trouble getting a director who'd do the project so decided to direct the pieces.
So here I am now, in typical all-hectic mode, scheduling, directing, and even performing in several short pieces. All going up May 1-4 here in Brattleboro.
Hooboy.
Thursday, November 01, 2007
There are at Least 1001 Reasons to See Jason Grote's 1001
Jason Grote's 1001 is flat-out the best thing I've seen so far in 2007. And I've seen a lot. You must put down that graphic novel immediately and rush out to see it.
Why am I gushing like this? For starters it's huge. The character list includes a one-eyed Arab, a Jewish/Palestinian couple, Scheherezade, Dunsiad, Shariyah and the king's Vizier, Gustave Flaubert and Jorge Luis Borges (now how many times can you say you saw a play that featured a blind Argentinian writer?). Due to the amazing Krazy Glue of Jason's eclecticism, and the whole-cloth, filled with Unity direction of Ethan McSweeny, the entire thing not only holds together but seemingly expands, giving you plenty of space in which to contemplate the generous helping of ideas, symbols, comedy and pathos. Though the play runs only 110 minutes it feels as if an entire world is contained within.
Despite a cast of only 6, its character list positively sprawls; but due to McSweeny's deft direction and the cast's terrific chops (and faster than light costume changes), it doesn't feel at all tight. The logistics of the production alone are worth watching, because the cast and technical crew pull off all the pyrotechnics - from places to moves to props - without a hitch.
One aspect of the show that's not going to get a lot of attention but in this case definitely deserves it is the music. True to Jason's 21st-century tastes, I can honestly say this is one play with a killer soundtrack. From dance-electronica to various forms of Arabic rhythms from the parodic to the sublime, suffused with subtle rock, this is an iPod of a show.
Rachel Hauck's production design is top-notch and thoughtful. A series of colored lines on the floor guide you to your section, and once you spy the mise - a bombed and blasted NYC streetscape in Arena, with two-deep audience seating, you know you're in good hands. Tyler Micoleau's lighting is comprehensive to say the least. The backstage geek in me stopped counting at a 120 cues.
Page 73 Productions has stood behind this play all through its creation, from Jason's initial drafts to the masterful concoction that's now playing in Gramercy. They are to be commended for their support and patience, as works this ambitious can take years - in this case nearly 3 - to come to fruition.
So how to sum up? The nice couple from Jersey sitting next to me asked me, "what's the play about?" I'd seen previous readings and hesitated, then blurted out - "it's about how our lives are wrapped in stories, and how our lives wrap themselves around stories. It's about the oldest story, the largest, about the tellers of stories, about their stories."
1001 closes in only two short weeks (Nov 17) though the director said they might get a 1-week extension. The house is small. So you better get off your bum, get out there and catch it. It's at the Baruch Performing Arts Center/Nagelberg Theater on E25 between Lex and Third.
PS: Variety's Mark Blankenship's given Jason's play a rave as well; have a look:
http://www.variety.com/review/VE1117935269.html?categoryid=33&cs=1
Why am I gushing like this? For starters it's huge. The character list includes a one-eyed Arab, a Jewish/Palestinian couple, Scheherezade, Dunsiad, Shariyah and the king's Vizier, Gustave Flaubert and Jorge Luis Borges (now how many times can you say you saw a play that featured a blind Argentinian writer?). Due to the amazing Krazy Glue of Jason's eclecticism, and the whole-cloth, filled with Unity direction of Ethan McSweeny, the entire thing not only holds together but seemingly expands, giving you plenty of space in which to contemplate the generous helping of ideas, symbols, comedy and pathos. Though the play runs only 110 minutes it feels as if an entire world is contained within.
Despite a cast of only 6, its character list positively sprawls; but due to McSweeny's deft direction and the cast's terrific chops (and faster than light costume changes), it doesn't feel at all tight. The logistics of the production alone are worth watching, because the cast and technical crew pull off all the pyrotechnics - from places to moves to props - without a hitch.
One aspect of the show that's not going to get a lot of attention but in this case definitely deserves it is the music. True to Jason's 21st-century tastes, I can honestly say this is one play with a killer soundtrack. From dance-electronica to various forms of Arabic rhythms from the parodic to the sublime, suffused with subtle rock, this is an iPod of a show.
Rachel Hauck's production design is top-notch and thoughtful. A series of colored lines on the floor guide you to your section, and once you spy the mise - a bombed and blasted NYC streetscape in Arena, with two-deep audience seating, you know you're in good hands. Tyler Micoleau's lighting is comprehensive to say the least. The backstage geek in me stopped counting at a 120 cues.
Page 73 Productions has stood behind this play all through its creation, from Jason's initial drafts to the masterful concoction that's now playing in Gramercy. They are to be commended for their support and patience, as works this ambitious can take years - in this case nearly 3 - to come to fruition.
So how to sum up? The nice couple from Jersey sitting next to me asked me, "what's the play about?" I'd seen previous readings and hesitated, then blurted out - "it's about how our lives are wrapped in stories, and how our lives wrap themselves around stories. It's about the oldest story, the largest, about the tellers of stories, about their stories."
1001 closes in only two short weeks (Nov 17) though the director said they might get a 1-week extension. The house is small. So you better get off your bum, get out there and catch it. It's at the Baruch Performing Arts Center/Nagelberg Theater on E25 between Lex and Third.
PS: Variety's Mark Blankenship's given Jason's play a rave as well; have a look:
http://www.variety.com/review/VE1117935269.html?categoryid=33&cs=1
Tuesday, March 27, 2007
Being out of it
Some artists never go through the periods known as "out of it." Those with the courage or the ability to go it alone can usually do it. Some are born with a silver spoon and that's how they manage. Others meet someone who's amazingly supportive. If you have none of those things, whether by choice, marrying for love or whatnot, you invariably end up spending large amounts of your time doing work that runs... let's say... counter to your bliss.
So in case you're wondering why I haven't blogged since last July, and why all that seems to come from me right now is static, that's why. There is some writing going on, but not the kind that cranks out large works quickly. No, it's been short plays when and if. That and course outlines for a school at which I've done work, etc.
Somehow it all feels like stalling. You say to yourself, it's just a matter of time before the waves of chaos recede and you can go back to it.
So in case you're wondering why I haven't blogged since last July, and why all that seems to come from me right now is static, that's why. There is some writing going on, but not the kind that cranks out large works quickly. No, it's been short plays when and if. That and course outlines for a school at which I've done work, etc.
Somehow it all feels like stalling. You say to yourself, it's just a matter of time before the waves of chaos recede and you can go back to it.
Thursday, July 20, 2006
Houses, Openings and Closings
Vocabularian Car Crash...
My house in Brooklyn has been sold and the sale is closing this coming Monday. At the same time I'm obsessed with houses and openings with Sanctuary. And of course two shows are closing in the coming weeks. It's all just conflated.
Talked to old friend - not that either of us is old mind you - Jane Scarpantoni, rock and roll and newjazz cellist. We talked about the tension between the public parts of our careers, in both cases we enable others but less so ourselves - she doing string arrangements for other musicians' albums, in mine productions of other playwrights' plays - and our inner desires to see our own work done and promulgated.
One wishes all could happen for all... but at some point one must push all others away and begin to realize the work that breathes within our own souls.
On the train I wrote, finally, a page of pretty good dialogue and realized... I can still do this.
This year I'm going to get an entry out to New Dramatists. And to see some more of my work produced both by me and by others. That's got to remain a promise and be realized as one kept. Otherwise I'm just cheating.
There's a safety in enabling others to get their work up... then I don't have to deal with the possibility of failure in my own work... of mistakes made, or proving I'm a fool making bad choices. I can work with Sanctuary and pick great plays and make them happen in front of audiences, and the Times can come out and love them, as they did with Adam's play. But if I'm not taking the chances with my own work, investing the time to write them, and the heartbreak that inevitably falls from actual productions of the work, then what sort of playwright can I call myself? Love others, yes, but love onesself too. And self-love means seeing work completed, and produced.
So what's there to complete? Well, since The New Life, and the short Flick See Gears in the Sparklight, I've laid back in the safe zone of creating snippets of work, a character drawing there, a page of dialogue here, and not completed anything of substance. This cheat must stop. I must dedicate real time in each day to completing writing and real additional time in communicating that writing to real theaters who might produce it, and to garnering support and resources around myself as a playwright. To do these things will give me the ability to once again call myself a playwright.
My house in Brooklyn has been sold and the sale is closing this coming Monday. At the same time I'm obsessed with houses and openings with Sanctuary. And of course two shows are closing in the coming weeks. It's all just conflated.
Talked to old friend - not that either of us is old mind you - Jane Scarpantoni, rock and roll and newjazz cellist. We talked about the tension between the public parts of our careers, in both cases we enable others but less so ourselves - she doing string arrangements for other musicians' albums, in mine productions of other playwrights' plays - and our inner desires to see our own work done and promulgated.
One wishes all could happen for all... but at some point one must push all others away and begin to realize the work that breathes within our own souls.
On the train I wrote, finally, a page of pretty good dialogue and realized... I can still do this.
This year I'm going to get an entry out to New Dramatists. And to see some more of my work produced both by me and by others. That's got to remain a promise and be realized as one kept. Otherwise I'm just cheating.
There's a safety in enabling others to get their work up... then I don't have to deal with the possibility of failure in my own work... of mistakes made, or proving I'm a fool making bad choices. I can work with Sanctuary and pick great plays and make them happen in front of audiences, and the Times can come out and love them, as they did with Adam's play. But if I'm not taking the chances with my own work, investing the time to write them, and the heartbreak that inevitably falls from actual productions of the work, then what sort of playwright can I call myself? Love others, yes, but love onesself too. And self-love means seeing work completed, and produced.
So what's there to complete? Well, since The New Life, and the short Flick See Gears in the Sparklight, I've laid back in the safe zone of creating snippets of work, a character drawing there, a page of dialogue here, and not completed anything of substance. This cheat must stop. I must dedicate real time in each day to completing writing and real additional time in communicating that writing to real theaters who might produce it, and to garnering support and resources around myself as a playwright. To do these things will give me the ability to once again call myself a playwright.
Sunday, July 16, 2006
More good stuff
NYTheatre.com gave Food for Fish a great review too...
We're very lucky here... to have this piece by wonderful Adam Szymkowicz, and the work of Alexis Poledouris and the cast, at this moment.
And crowds of folks - folks we mostly don't even know - are coming out to see it and laughing and saying great things about it and telling their friends. And putting up with the lousy AC in the theater and still keeping up good spirits and still laughing and clapping at the end.
On a personal note... the house closing is now on schedule and the buyer is a nice lady who told my son (very sad about the sale of his childhood home) that he could come visit anytime. Gabe has sworn that he will grow up and become rich and buy the house back. Heh.
There's a lot of stuff here all about love - defined as the moments between people where they wish each other well and strive to do the right thing by each other - and of course, all this amazing, beautiful luck.
Sure, working your ass off for 20 years and saving and paying bills and helping other artists and hoping it all works out in the end, all the promises you make being kept, etc... that's probably part of the basis. Having a dream of making something that helps a lot of people, and that brings some more great beauty into the world, a world crying out for some beauty, is part of it. And focusing strong and relentless energy and concentrating all your positive thoughts on the outcome and being organized and cooperative and friendly is part of it.
There are probably 3 or 4 plays in all this complexity. Funny plays and sad plays. When all this slows down, and there's time to reflect, some wisdom will trickle out of all these experiences... many painful, many almost unbearably achy, and some humiliating and embarrassing. And these will be the basis of, one hopes, some kind of art. That speaks some truth to people. That communicates the value of hard, positive, focused work and good intentions and good plans.
The time to reflect on all this is coming. That reflection will bring about those many plays. And now we have a machine that can bring those plays to people. Now we need to gather about us all the support we need to make this happen. It must happen.
We're very lucky here... to have this piece by wonderful Adam Szymkowicz, and the work of Alexis Poledouris and the cast, at this moment.
And crowds of folks - folks we mostly don't even know - are coming out to see it and laughing and saying great things about it and telling their friends. And putting up with the lousy AC in the theater and still keeping up good spirits and still laughing and clapping at the end.
On a personal note... the house closing is now on schedule and the buyer is a nice lady who told my son (very sad about the sale of his childhood home) that he could come visit anytime. Gabe has sworn that he will grow up and become rich and buy the house back. Heh.
There's a lot of stuff here all about love - defined as the moments between people where they wish each other well and strive to do the right thing by each other - and of course, all this amazing, beautiful luck.
Sure, working your ass off for 20 years and saving and paying bills and helping other artists and hoping it all works out in the end, all the promises you make being kept, etc... that's probably part of the basis. Having a dream of making something that helps a lot of people, and that brings some more great beauty into the world, a world crying out for some beauty, is part of it. And focusing strong and relentless energy and concentrating all your positive thoughts on the outcome and being organized and cooperative and friendly is part of it.
There are probably 3 or 4 plays in all this complexity. Funny plays and sad plays. When all this slows down, and there's time to reflect, some wisdom will trickle out of all these experiences... many painful, many almost unbearably achy, and some humiliating and embarrassing. And these will be the basis of, one hopes, some kind of art. That speaks some truth to people. That communicates the value of hard, positive, focused work and good intentions and good plans.
The time to reflect on all this is coming. That reflection will bring about those many plays. And now we have a machine that can bring those plays to people. Now we need to gather about us all the support we need to make this happen. It must happen.
Tuesday, July 11, 2006
The NY Times
Bless you Anita Gates for your review of Food for Fish... it feels great... though... wellll... really all this stuff is really ephemeral, I mean what is the point of anything... "press..." whatever. Still a moment, to breathe and feel maybe something was accomplished... ahhh....
Still we need to sell a bunch of tickets to this thing to keep us out of the poorhouse. Oy. I can complain multi-culturally.
Though it never made the NY Times, in the Daily News the Caption read: "Save the life of my child."
Dunno whar that crap comes from... the sump of the unconscious prob.
My dad, ever the guy from the previous generation, but kind, says blow up the NY Times article and laminate it and post it in the lobby. As if there were room in the Kraine lobby for it. I think we should, make us feel like NY Theatre Workshop or whatever.
Still we need to sell a bunch of tickets to this thing to keep us out of the poorhouse. Oy. I can complain multi-culturally.
Though it never made the NY Times, in the Daily News the Caption read: "Save the life of my child."
Dunno whar that crap comes from... the sump of the unconscious prob.
My dad, ever the guy from the previous generation, but kind, says blow up the NY Times article and laminate it and post it in the lobby. As if there were room in the Kraine lobby for it. I think we should, make us feel like NY Theatre Workshop or whatever.
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