The Rest is (Busy, Noisy) Silence

{This entry is a continuation of 11/20/08, 11/19/08 & 11/18/08...}

I'm sharp enough, gang. I'm sharp enough. I'm about to be sharpened down to a nub.

Yesterday the management agency I work with called to submit me to an audition taking place this morning, for what sounds like a potentially big commercial. They got it from an agent; like, a really real agent, who I guess shops work out to them occasionally when he can't fill it. So. Why did they call me -- who's only done one industrial for them to date -- for this peculiar assignment? Well, the casting director needs someone who can do an Italian dialect, and that's what it says, right there on my resume.

Ahhhhhh. Ah.

I could have said no. I could have said, "Oh well, you know, I mostly do a comic Italian, which doesn't actually sound anything like an actual Italian person. You know, it's all, 'I'ma gonna to tella you somethin'.' Like that." I could have said that, and I didn't, and it's either because I'm greedy, or insane, or a little of both. The audition's at 10:40. I'll write more after.

Perhaps needless to say, some of my valuable time last night was spent downloading and listening to an Italian dialect sample, over and over again.

* * *

Well. That was . . . not at all worth the stress under which I put myself. Me and a camera, slate, two lines, spoken twice, and that, as they say, was that. The director wasn't even a nutter. Not remotely, and they warned me about that. I didn't even have to wait, and there was no one there. I mean . . . COME ON! <--This addressed to myself, for being such a stressed-out goob.

I have absolutely no way of knowing how well I did. Even if I thought I did particularly well, I wouldn't know, there was so little interaction. But enough of that.

One lucky upswing from this is that it sort of temporarily released my stress over tonight's work. (Oh right! I'm performing tonight!) Similar to electroshock therapy, the possibility of facing a director furious over my crap-tastic Italian dialect has zapped an interruption into my ongoing rhythm of stage fright. It is welcome. I figure I've got a good hour or so of feeling this intense relief until my anxiety back-up generator kicks in and starts running the show, and that's good enough. I can get to 3:30, when I'll be back working on the show, on this reprieve. Thanks, Powers-That-Be!

Apart from training to open my As and turn my Is into Es, last night was spent very similarly to how I imagined it yesterday. Which is a hell of an accomplishment, because I feel I'm at that level of stress that gets disruptive to my entire being. I'm sure most of you can relate; particularly the air-traffic controllers in my vasty readership. I'm talking in my sleep, getting awoken by cramps, having trouble focusing on one thing for an extended period and generally losing my place all over. It's silly, I know. I'm working on it, but in the meantime, I managed to rig my props and cobble a costume together and dub my sound effects and music last night instead of running around my general neighborhood, clucking like a chicken and clawing at litter with my sneakers. I didn't run the piece at all, and it wasn't until this morning that I played with my new props a bit, but there truly wasn't time.

A lot of this stress has been self-generated. Yes, it's a last-minute, original performance, but it's also all of ten minutes long and I've no idea who will actually see it -- likely no one who will have an immediate and profound effect on my creative and professional life. Plus I do exactly this kind of work ALL the TIME. Some could handle this with greater panache, and some wouldn't even feel stressed at all. Not THIS guy, though. (sigh...) Without getting self-aggrandizing, some of it has to do with how important the work is to me. Without getting self-deprecating, some of it has to do with a finely honed sense of insecurity. Add a dash of general excitement at being allowed to make stuff up and show it to people, and you've got a giddy stress souffle just ripe for voracious consumption!

A lot is waiting on today's pre-show tech time and run. It had to. There was just little way for me to work things out without the space itself and all its quirky accoutrement. So this afternoon will tell the tale, and adjustments will likely be numerous and made as I go. I think I might even be able to relax into it a bit, if I try hard enough. Er, uh: if I don't try hard . . . enough. Wait. Oh, to hell with it. A relaxed person, I am not. But I do enjoy good, hard work, and I've plenty of that to do, which is always better than just waiting for curtain.

Of course, the end of the tale isn't until the fall of that curtain...

The Rest is (Yes, Still) Silence

{This entry is a continuation of 11/18/08 & 11/19/08...}

Well: Maybe not every single moment. Though I am having more waking ones than sleeping, at the moment. Yesterday was a lo-o-ong day (that's a three-syllable "long," right there) and I didn't get a whole lot of sleep last night. In addition, some of that time had to be devoted to the closing reading of Burning Leaves (Hi Tom), a play that, in my opinion, certainly deserves what devotion it gets (Hi Tom). I'm afraid my reading may have suffered a bit from my multi-tasking and the lateness of the hour. But more on that in a later entry (Bye Tom). For this sleep-deprived moment, it is all Whoopsie Daisy, all the time.

Yesterday was not full of time in which to play out my ideas. I could come-to-think-of-it have retreated to the back hall of my daily workplace for some tumbling and hat tricks but, then again, perhaps it's best I didn't. The copier's back there, and my discovery mid-handstand would have been inevitable. ("O hai.") So my rehearsal was limited to my imagination. This turned out to be a good thing. I'm always craving organization, and it isn't a compulsion that always benefits my creative pursuits, but it just so happened that at this stage of the game that was exactly what was needed. So after venting on yesterday's entry, I brought up the dreaded blank MSWord(TM) page and set about getting down the ideas from the prior days' rehearsal and them what have introduced themselves since.

It was, in its way, tremendously comforting. Too comforting? Perhaps. It is always easier to theorize a performance than to confidently prepare it for presentation. Still, I had the prior night's practice fresh in my body, and managed to keep my perspective about what I can and can not do. I even have tentative music to use. As soon as I got home Tuesday night I sat at my computer and sought out instrumental music that would support what I had thus far in my imagination. With these things in mind, I started to outline, chronologically, step-by-step, a scenario for my performance. It was a bit like working on my clown screenplay, in the best ways, and I was reminded of Buster Keaton's assertion that a good movie ought to be able to be expressed in a few sentences, to fit on a postcard. Simplicity's hard for me when I'm gathering ideas, but easier when it comes to writing it all down. One thing leads to the next, to the next, and to the next. Particularly in physical comedy.

By the end of my "work day" (HA!), I had a complete outline, subject of course to revision, and raced up to the venue to try and catch the final half-hour or so of Melissa's rehearsal. Even getting quite lucky with transfers, I just made it for thirty minutes' worth of time. I walked into the warmth in time to see about the final five minutes of Patrick running his contribution, and it set me at ease anew -- the space is so familiar, and here was my rehearsal partner from the night before filling it very naturally. We can do this. I came to realize, in fact, that a sense of community had already permeated the space; it just took me awhile to catch on to it. Suddenly I realized I was not, in fact, flying solo. We were all in this together. I can already tell that is going to make a world of difference from my experience with EAT's Laugh Out Loud last Spring.

My brief time in the space was spent enlisting the aid of one of Melissa's dancers (I have discovered I need another character), getting a new lay of the land and sketching through my show for Melissa's benefit. Patrick and Zoe Bowick were also around for that and, though I was really just outlining most of the sequence, some positive responses from them helped my self-esteem tremendously. Melissa, of course, is just the most supportive colleague ever. It's her way, and I think it explains why she works so durn much. What I didn't get done in the space was: a run, technical details or even really a reading on just how possible the piece I imagine will be. Here's a short list of things I must do tonight to be ready for tomorrow:

• Buy, then rig to behave the way I need it to, an artificial daisy.
• Collect string lights.
• Finalize costume.
• Rig props.
• Finalize, download and burn a disc of all sound and music cues.
• Practice all tricks and acro as much as possible (already using elevator rides for hat-trick practice).
• Run entire sequence several times.
• Stretch.
• Stretch.
• Stretch (some more).

All of this from (or in-and-around) the comfort of my apartment, 'cause I'm not shelling out for another rehearsal space the day before tech and, frankly, I need the comforts of home at this point. I sacrifice space needs for psychic ones. Fortunately for me, I have no other commitments tonight, and the place to myself for a few hours. Lots is still only going to be done in the space, during tech (the day of the performance), for me. Which is all to say: No longer eyeing oncoming traffic as a method of escape from this assignment; still experiencing pangs of sheer terror.

Keeps me sharp!

The Rest is (Remaining) Silence

{This entry is a continuation of 11/18/08...}

So Friend Patrick and I met and rehearsed for about three hours last night, after I got off of work. I'm not at all sure I can properly call what we did "rehearsal," at least insofar as my part of it went. Patrick is farther along on his process for the upcoming performances (starting Friday, starting FRIDAY) so we spent much of his time in the space doing character exploration and discussing possible adaptations to his "I propose a toast..." piece. It's really interesting stuff, actually. This is a piece I've seen him do a few times, and he's interested in getting it better adapted to the stage (it's normally performed at events, particularly ones involving drinks). This is almost exactly what I was aiming to do the last time I performed solo clown work (see 5/28/08). I don't want to write too much about Patrick's work here without his consent, of course. You'll just have to attend to see the results!

As to my process, last night it mostly consisted of me talking a blue streak whilst occasionally putting ideas on their feet (my feet?). In fact, it must have been a little like watching a five-year-old for dear Patrick. You know when a little kid pulls you into a room and says he's going to put on a show for you, and he has gathered some puppets, but you quickly begin to get the suspicion that not a whole lot of table sessions and research went into his so-called "play"? Yeah. Like that. For an hour. It was reminiscent of the process behind some of our more rushed Zuppa del Giorno shows, too. When we had to get a show ready in a hurry for our last trip to Italy (see 5/30/08), everything was done out-of-joint. We had a title first, we developed some acrobalance moves, we figured out our story, we returned to the acro and found we couldn't do it anymore, for some reason I still don't comprehend, we ended up choreographing one of the most satisfying sections the day before we premiered it . . . you get the idea. And in spite of all this, the process can not be rushed. Let me emphasize this slightly: THE PROCESS CAN NOT BE RUSHED. You are where you are in the process, no matter what sequence it takes, nor how urgent your need is to "complete" it.

Which can be a bitch sometimes.

What I knew going into last night's "rehearsal" (man -- the sarcastic quotation marks are really flying in this entry -- sure sign of insecurity) was the title I had already provided Melissa, Whoopsie Daisy, and the program blurb I also sent her way. Note that I have definitely cultivated a skill in well-structured description that nonetheless promises nothing:

"Lloyd Schlemiel is new in town. Actually, he doesn't remember how he got here at all. There was a flicker of the light, a rattling noise (like some old machine whirring to life), and here he is. Also: He doesn't wear hats. Who wears hats anymore? Please bear with him. He's got a lot to learn."

Bully. What I had to dump into this whole Whoopsie Daisy assignment I rather gave myself was a few solo performances, only one of which took place on a stage, a partial clown screenplay, and whatever I can come up with between now and then. So where does one begin?

Well, I began with completely freaking out. That's often a good starting point. It provides a whole lot of false starts and bad ideas, and that's good. No really; it is. There's no faster progress to be made than that which results from big, multitudinous mistakes. So trying to find a special type of ladder, only to find it wasn't going to work for the show, then spending over an hour trying to resolve video issues on my computer Monday night . . . that was all necessary to catapult me into what would prove more useful. So I believe, and so I keep reminding myself when the panic sets in again. What I gathered instead for my work with Patrick were as many hats as I had, and some prop items with which I was simply curious about playing. Throughout my work-filled day, I contemplated several different approaches to take to creating action, including entertaining for some time the (fortunately, ultimately abandoned) notion of using a day-job-ish environment somehow.

By the time I was journeying from work to dinner, I realized I could lean more heavily on the ideas I'm using for the screenplay than I had previously thought. I knew I wanted to tell a story of transformation, and I had some ideas about how this could be accomplished in a theatrical setting. (It helps, very much, that I'm quite familiar with the West End Theatre.) In short, I suddenly felt like I had it all figured out. Yep, I've written this story already, in fact. No worries. None at all.

Of course, this is why rehearsal is so important: It shows us how little we truly know. Maybe mid-way into my descriptive rant at Patrick, it became clear to me that I had a long way to go. Yes, I want to tell a story about transformation, and yes I've given some thought to that already, and yes I have stock bits to use. BUT: I need a through-line, I need a central action, I need, I NEED! We made some progress on pursuing these things, but over the next two (TWO!) days, I need to hustle, and keep the ideas coming.

I can't rush the process. What I can do, is make sure I give it every single moment of my time, waking and sleeping.

Circular Experiences

I had the pleasure of two different performances this weekend past, one for each day of it, and they were both returns for me -- not just in the sense of returning to the stage after a bit of an absence, but in returning to specific work that I have missed. And this weekend coming up, I have another sudden performance in a similar vein of return. They call me: Mr. Boomerang.

They don't, actually. Thank heavens.

Sunday was the opening night of a second staged reading for

Tom Rowan

's play,

Burning Leaves

(the closing night is this Wednesday; a very economical schedule).

Burning Leaves

, though studded with excellent humor, is largely a drama, and I was reading a lead role. I first read this role back in the summer, and really took to it. He's a guy who's on the outside of a new community, gradually well-loved at first, and then ostracized; an actor who leaves New York in the hopes of turning his life around. I find it very accessible, and am grateful to have the opportunity to be involved with it, not to mention to be brought back for its second incarnation. At the end of it all, the reading turned out rather well. We had some people there -- a rather substantial house for that festival, from what I understand -- and I turned in a decent performance. There were moments I didn't feel I really delivered on, but I don't think it was so as any audience would notice, and at least I get a second chance.

The readings are taking place at the

Ensemble Studio Theatre

, which is a very interesting theatre to me. One is greeted, upon entering the second-floor lobby, with what look to be rather typical production photographs from the 70s and 80s. Then you take a closer look, and see people like Sarah Jessica Parker, Elias Koteas and Bill Murray in those photos, all looking very fresh in posed black-and-white. The theatre occupies several floors of a rather run-down building on way-west 52nd Street. You wouldn't find yourself there unless you knew about it, and needed to be there for some reason. It looks like the definition of "not much." Another not-for-profit in a building most commercial enterprises would studiously avoid, or demolish. Yet the theatre has fostered an incredible amount of now-famous and award-winning talent over the years. I like this juxtaposition. It gives me hope, and makes me feel at home, all at the same time. The final interesting thing for me, however, is that the theatre was founded by one Mister Curt Dempster. Not a lot of people outside the American theatre world know

who Dempster was

, and far too few in it know of him, either. I never got to meet him. I know him by coincidence.

The first time I saw Curt Dempster, I didn't know it. He had a role in

The Manhattan Project

, a favorite movie of mine as a child and one of the few we owned on video cassette way back before they got more affordable. I didn't really recognize Dempster until a random encounter in college, and it wasn't with him -- it was with a play he had written:

Mimosa Pudica

(I mentioned this play here way back in

11/1/07

). In 1998 I was in a public library in Richmond, Virginia, looking for a satisfying short play or excerpt to spend an entire semester working on in my directing class. In a compilation of one-acts from the seventies, I found Dempster's play, and it really sucked me in. I was just beginning to own the idea of my moving to New York, and New York is where the play is set. Eventually, I would use one of my many trips there that year to take location-specific photographs for research and use in the play itself. More significantly perhaps, the play spoke to me about my social anxiety and need for love. It was a profound experience of development for me to explore it, and I've never forgotten it. And I'm working in the theatre in which it made its debut.

The night before, I performed with

Bond Street Theatre

as part of a benefit for the

NACL

. It took place in

LAVA

's studio space, in Brooklyn, and featured an incredible line-up of the bohemian and avant-garde circus & variety set. There was everything vaudevillian and circus-themed you can imagine, just shy of fire-skills performance, all in an intimate space off a neighborhood of Brooklyn I've come to know fairly well (well enough to know of

a great coffee shop

nearby). I was pretty anxious most of the time I was there, I have to admit. Some of it was performance anxiety, but a lot of it had to do with knowing very few people there and it being more than a little crowded with folks who either knew one another already, or had an eye out for people they should know. I was, to put it succinctly, feeling a little outside. Not because of any exclusion (far from it -- everyone was extremely friendly) but because I had such an intense desire to belong. I miss my days of regular circus activity, and hanging out with that crowd was a bit awkward for me. To be utterly shameless, I must admit that I kept wanting to jump up and shout, "I can do that! Can I do that? I can do that!"

Our contribution to the evening's festivities was well-received, I thought; it took the audience awhile to warm up to what we were doing, but they got there and brought their laughter with them. Our performance was not a physical one; it was, in fact, intensely verbal. Still, it was highly comic, and I managed to get a little standing back-bend in there, which is a favorite "straight-theatre" move of mine that can be snuck into otherwise wordy exchanges. It seemed harmless in rehearsal, but it's just possible that doing the move whilst all adrenalized (is SO a word) aggravated

my pre-existing condition

, because since then I have had unpleasantness to contend with. This would inform a sane person to relax about all this circus nonsense. A believer such as myself might even take it as some kind of sign or omen added atop a pile of others that perhaps, just perhaps, it's time to let that physical stuff go.

This weekend I am all-of-the-sudden performing as my silent film clown (details soon @

Loki's Apiary

). I don't know exactly what I'm doing yet, but I know I want it to be physical, full of dangerous pratfall, to the point of flagrant masochism.

Exhibition

I'm frankly surprised: I did a search for this word in the Aviary, to see when I'd ruminated on it previously, and came up with only one occurrence -- yesterday. That was only in reference to Friend Melissa's upcoming dance exhibition. The reason this surprises me is that I think about it quite a bit in terms of human (read: my) behavior. I think it's pretty undeniable that one does not become an actor without a certain persistent "Look at me!" impulse, and naturally I feel a bit conflicted about that. I don't think that's one of the better bits of acting technique, I really hate obvious artifice and insincerity, I do hate to be scrutinized, yet I must admit that I have a very basic urge to perform for an audience.

I've had two rehearsals over the past two evenings, one for each performance I'm doing

this

weekend

. Tuesday night was for the benefit performance with

Bond Street Theatre

, and I spent a couple of hours cavorting about Monty-Python-style in their loft rehearsal-space-slash-apartment. I had come from il day jobo, and so was dressed in appropriate gear for the scene: button-down shirt, slacks, etc. As we progressed, however, I cuffed up my pants so the hems wouldn't drag (I was shoeless) and, as I got warmed up, stripped off my shirt, so I was wearing only my undershirt. Suddenly I found I had more energy for making physical choices. I was very interested in the choices to be made in the character's posture, his pace and quality of movement, and all the rest. Getting warm and losing the little suggestions of restriction that office clothes suggest contributed to this, of course, but there is also a large mirror in the studio that did not escape my attention.

Presume for a moment that there is a difference between an impulse toward exhibition, and vanity. They may be so closely related that they're like married cousins (ew), but let's still say they've got a distinct DNA strand or two. Vanity presupposes an attractive visage, or at the very least the potential to attract in that way. Exhibitionism, however, has more to do with being seen than being admired and/or being wanted for procreation purposes. Those of us excited by looking wretched in front of large groups may not necessarily be all that vain. What vanity I do suffer I try to be aware of, and keep in check with equal parts objectivity and self-deprecating humor.

It's a lucky thing that I have nice eyes; they just read past my long, crooked nose that way.

That sort of balance of power, if you will.

Last night the rehearsal was for the reading of

Tom Rowan

's play,

Burning Leaves

, and it actually took place at Tom's apartment, on 40th Street. The whole thing was a bit unconventional: in an apartment that had recently been moved into, an unfamiliar neighborhood, it was late to accommodate various schedules. Unconventional does not in this case mean unusual, mind -- New York conditions of living and renting often necessitate unconventional solutions. Nevertheless, I had a lot of time to kill before rehearsal, and in that time I think I got a little uncomfortable, a little introspective, so that when I arrived for rehearsal I didn't feel all that engaged, much less demonstrative. It's rather a new group to work with, too, yadda yadda yadda. I had my reasons. I was self-conscious, and slow to warm up. Gradually I became more comfortable, and my acting choices improved in both their execution and the quality of choice. This time, however, I did not find the comfort to improve from exhibiting myself. Rather, I found it in gradually letting go of the worries related to exhibiting oneself.

Oh, balance! You are such an elusive spirit! When I began looking seriously into Eastern philosophy, I ultimately chose to align myself with Taoism instead of Zen Buddhism (this was way back in the day, when I was so young I didn't know what a hangover was [not really] and I didn't have necessary stretches to do every morning). There were many reasons for this choice -- although the concept of Zen had a strong appeal for me -- but the most convincing reason has to do with the difference in the way Taoists and Buddhists generally approach the problem of human desire. Buddhists believe the only way to spiritually improve oneself is to rid oneself of all earthly desires, and possibly, ultimately, all spiritual desires as well (they don't have

koans

for nothing). Taoists, on the other hand, acknowledge desire as a natural aspect of humanity, and one that's part of the whole process. Transcendent thought and action is available in any part of the whole. Instead of urging you to let go of all desire from the word "go," a Taoist might say, "Good luck with that," and mean it. I think desires are good to transcend. I also think they're good to learn from.

So I keep performing. The farther along I get, the more that desire for exhibition changes; perhaps it grows more mature. I'd like to think it does. I'd like to think that I'll become more intelligent and balanced in my performance as I continue to live and learn and, so far at least, I believe my progress has been evident. In the long view. When I was in my hometown for

The Big Show

, I ran into my high school drama teacher in a restaurant, the very day of the event. I hadn't seen or spoken to him in over a dozen years, and I was shy to approach him. Once I had, however, I wanted to audition for him. Not to be cast, obviously. But maybe just to be seen.