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Orlando Theatre Pot-Luck July 14, 2008

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Back in April, a bunch of local theatre folks got together to have dinner and meet up. Tonight was the second installment in what seems to be a 3-or-4-times-a-year event, held in local theatre spaces. The April 6th pot-luck was hosted by Mad Cow Theatre downtown, and today’s was held in the lobby of the Orlando REP.

From the Wikipedia page on Potluck:

Folk etymology has derived the term “potluck” from the Native American custom of potlatch; the word “potluck”, however, is actually of English origin. It is a portmanteau word formed from (cooking) pot and lucke. The earliest written citation is from 1592: “That that pure sanguine complexion of yours may never be famisht with pot lucke,” Thomas Nashe. As this shows, the original meaning was “food given away to guests”, probably derived from “whatever food one is lucky enough to find in the pot”, i.e. whatever food happens to be available, especially when offered to a guest. By extension, a more general meaning is “whatever is available in a particular circumstance or at a particular time.”

Potlatch is actually a good custom from which to derive this kind of dinner - the potlatch is often celebrated at special events, like births, celebrations of the harvest, and weddings. It is a show of wealth and prosperity, where the person holding the potlatch holds a feast, and trades some prized commodity for things they might need.

The tech community’s BarCamp and the PR and Media community’s BlogOrlando could be seen as a kind of potlatch - we’re trading ideas and experience.

The idea for the Theatre Pot-Luck was originally spawned by local actor John Baker via Elizabeth Maupin’s Orlando Sentinel theatre blog, which is also the best place see announcements for other upcoming events. The Orlando Arts Blog is another good place to check. Apparently, the Orlando Shakes has volunteered to hold the next one in a few months. Right now there is no organizer, it just sort of happens as someone steps up to offer space - which is, in my opinion, as it should be.

With Florida Creatives and BarCamp, the geeks are really fixated on a single person having all the ideas, and I think this is stifling the creativity and experimentation that could be happening if the organizations were more headless. One way we can do that with Florida Creatives is having chapters in other cities, which we are getting going in Melbourne/Brevard now, and hopefully more successfully in Jacksonville some day - the only stopping other cities is an initial organizer.

Yes, someone does have to take the reins, but only until it gains critical mass. Even when I tried to move the Happy Hour to the Fringe Beer tent some of the downtown folks still went to Crooked Bayou looking for their regular 3rd Monday beer-and-tots… funny.

I really meant to take some pictures, but when I was there, I just didn’t see an opportunity.

What goes on at a theatre potluck? Well I talked to Arwen Lowbridge from Fractured Atlas in New York - she’s down here visiting so she could check out Beth Marshall and Tod Kimbro’s My Illustrious Wasteland - they were both also there, along with Betsy Maupin, of course - I ate dinner with them and (for a few minutes) John DiDonna, but he had to run.

Arwen and I waxed delicious about non-GMO, CSA farms, picking your own fruit, and having fresh food delivered to your house. I also had my first face-to-face meeting with Maupin, who said something to the effect of “You look bigger than on the Internet”.

I later moved over to a table with David Almeida , Marcie and Stephen J Miller from Here Be Dragons. There were some interesting threads there too, like one about experimenting with different roles while you’re in school, because once you’re out, you get cast as yourself for the rest of your life. The other hot topic was nudity, since David had done a play at Fringe with an extended nude scene.

I also got to hear about the history of this event, which is really important to me. The more I get into this, I see myself leaning more towards the role of documentarian and historian. I’m actually thinking about shooting a 20-25 minute documentary in a few weeks if I get the logistics figured out - I also hope that I will be able to get the help with editing that I’m hoping for… more on this later.

Looking forward expectantly to the next Pot-Luck - next time I promise to bring something. Betsy’s chicken and David’s brownies were great, and I heard good things about some lo mein and Stephen’s apple pie too.

Final Weekend of Fringe May 23, 2008

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Only 3 more days! (plus Patron’s Pick Day) Looks like When Pigs Fly and Alice in Wonderland have already been announced as Patron’s Picks for their venues, which sort of makes sense. If you’re interested in supporting the Fringe AND seeing TJ Dawe, check out Monday morning at 11:30, when TJ will be performing the Slip Knot.

As we rolled into the weekend last night with some light rain and lots of folks crowding the Shakespeare Center, I noticed three college-looking kids soliciting people for photographs. I walked up to tell them about Blogging Fringe, and it turned out they were the Orlando Metromix “SHOCK SQUAD”! Is Metromix the Sentinel one, that’s going to be changing their name? It’s not CityBeat, is it? It’s one of those. I went to see what coverage they had of the festival, and it was exactly one article - recommendations based on watching the preview. Also, no comments allowed. They asked me to link to them, and in hopes that they link back, here we go.

Check out Orlando Metromix’s Fringe Photoset - lots of familiar faces in there.

Last night, I lost my festival program. Normally no big deal, but this was different - I had written all sorts of notes in my program, marked down page numbers of shows, kept my tickets inside, and started to feel like my program was a treasured item - sort of like a stuffed animal or something, now lost. I checked the Brown Venue, the Blue Venue, the Ticket Booth, and the Garbage Can too, but my program was gone. I went to the box office to get some tickets re-printed ( handy reason for using credit card or the internet to buy your tickets), and proceeded to go through the tickets I did have with the volunteer to make sure I wasn’t missing any others.

Apparently, I’ve seen a lot of shows:

  1. A Brief History of Petty Crime
  2. American Squatter
  3. Boom
  4. *Flamenco con Fusion 08
  5. Galapagos: The Directors Cut
  6. **Here Be Dragons
  7. *Mark Baratelli
  8. Move!
  9. MR. FOX
  10. *Mr. Marmalade
  11. **New Rochelle
  12. On Second Thought
  13. *once upon a time: The End
  14. Oral
  15. Parlour Games
  16. perfectly broken
  17. Power To Pleasing: The Sex Lives of Teenage Girls
  18. *Red, White, and Ignorant: An American Love Story
  19. **Reefer Madness
  20. Shadows In Bloom
  21. Skip Peril and the Players of the Lost Trunk
  22. *Swell
  23. The Boy’s Own Jedi Handbook
  24. *The Bric-a-Brac Vagabond Vintage Variety Show
  25. The Cody Rivers Show presents: Stick to Glue
  26. The Greg Barris Heart of Darkness Rock and Roll Circus
  27. *The Slipknot: A Benefit for the Orlando Fringe
  28. Totem Figures
  29. TV iMature
  30. *Wet
  31. **VarieTEASE: No. 24 Doll Factory
  32. When Pigs Fly

* Indicates shows I have not seen, but I have a ticket for.
** Shows I saw after writing this blog post.

All of these shows (that I have seen) are awesome. Go see them all. If I could only tell you three, I would include The Cody Rivers Show, On Second Thought and Boom (not in that order). I would say Power to Pleasing, but it’s sold out. I continue to tell folks that if they haven’t seen any dance, they MUST go - we always have great dance at this festival, and I’m seeing all of the 5 dance shows this year. Lastly, (not leastly) if you’ve never seen TJ Dawe, Barry Smith, Jimmy Hogg, Greg Landucci, Gemma Wilcox or any of the other out-of-town monologists (like Paul Hutcheson from On Second Thought, mentioned earlier), they are all worth your time and money. This is also not counting Patron’s Pick day, where I plan to see some shows that have floated to the top, but I managed to miss. It should be a fun experience.

What was also a fun experience was getting a random contact from some folks from Rake Theatre down in Boynton Beach - they’re putting on Fluency this week at the Fringe. Apparently, they are wanting to start an all-Florida arts blog - a very ambitious project. I have about 3 such very ambitious projects in my head, in the works with locals, or I at least own the domain name for them.

The South Florida folks’ project is called, of all things, Florida Arts Blog, which is a Wordpress.com site right now, but for some reason the posts about Fringe have disappeared… ::shrug:: Something and someone to watch in the coming weeks and months. I am trying to sell them on Florida Creatives myself, blogging can come later. They’ve also got a link to Mark’s Orlando Arts Blog up there… I wonder if they’ve been emailing him too…?

Other things happening this weekend would be:

Orlando Silent Rave (see a video)
Saturday, May 24th, 5:24PM @ the Green Lawn of Fabulosity

Kite Flying 2.0 with Radio Rickshaw and Greg Barris
Sunday, May 25th 11AM - 5PM @ the Green Lawn on Drunkenness

Zombie March 3.7 with Rich Weirdos and Friends
Saturday, May 24th @ 3PM Park Ave and 5PM Lake Eola

If you know of more cool stuff, leave a comment and we’ll get it listed.

Muder We Wrote at Rollins College April 26, 2008

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Where does one begin? I often find that when writing these theatre reviews, it’s a good idea to gather my thoughts, think about what I want to say and in what order; I don’t have time for that, I’m going back to see the last showing in an hour!

I first learned about this production through a friend who helped to workshop the format for this improvised 90-minute board-game inspired murder mystery… she and several other students, under the direction of David Charles, PhD. - Assistant Professor of Theatre and Dance at Rollins College. The whole play is improvised, so there are bound to be some times during such a long show where the scenes may be stronger or weaker - to counteract that, “Dr. David” and his class developed dozens of devices to help them create a sustainable story throughout the length of the show.

We begin at the stately home of a Mr. Phil Reynolds, a successful lawyer with a deceased rich wife. His business partner Toni and spouse Gene the artist will be guests at tonights party, along with his child Bobby and sibling Toni, servant Pat, and lifelong friend Dr. Chris. An unexpected guest arrives, and, inevitably, there is a murder! Some classic (yet improvised) scenes are played on the stage of the Annie Russell Theatre, which has been masterfully converted to the perfect setting for these 8 unlikely murderers or murderesses to play out their little drama. You’ll laugh, you’ll scratch your head, and above all you’ll have fun.

I’ve got so much more to tell, but no time to tell it… we continue our recap when I return from the last showing of Murder We Wrote tonight!

**** Continued ****

As the play begins, you see a man sitting at a bar, and as he turns to the audience, he gives us the look the look that says “Are you ready for this?”. At all three showings, David’s entrance gave us a laugh. This audience was ready to have fun. The story is set up as an “exploration of the human psyche” where “a seemingly random series of events” may yield “murderous results”, and the setup for the game begins. Three decks of cards are passed out to the audience and shuffled, then used to select a victim, a murder weapon, a location and… the murderer. The recited banter during this section kept us paying attention, instead of looking down at our “ballots” where we would later guess whodunnit. Only the Assistant Director and the killer know all the details of the crime before the final moments of the play when a confession is yanked out of the murder him or herself.

Once the setup is done, we the audience have also suggested a song title, a nervous habit, an annoying catch phrase, and several other ways for the players to use to make us feel as much like the writers of the story as the people on and off stage. Just before, however, is perhaps the most exciting part: the character cards are shuffled, and 7 of the 8 roles are completely randomized by members of the audience. All the parts are non-gender specific, including the married couple, and relationships between siblings and children. Even the order of entrance for the characters is ever-changing, decided by the backstage team of a dozen or more people who are constantly feeding the actors suggestions, props, cues, even their catchphrases, and reconciling any plot holes during intermission. There are countless challenges for the lighting and sound team as well, and opportunities for them to drive the story as much as anyone down at the stage level.

The most rewarding parts of the show come in the second act, where the details of the murder are spoon-fed to us at fixed intervals (or as much as can be with an improvised show). We already know the victim before we take the intermission and make our guesses, and immediately after, the location of the murder is revealed. I don’t know to give credit to one person for this, or the whole team of students, along with Dr. David who playtested and researched this last summer, but there is some expert game design at work here.

Then someone suggests “we should split up and search the house”, and each of the 8 characters takes one of the doors leading to various wings and levels of the house, only to frantically burst out of the door in a ballet of “who am I on stage with, and what do we do now?”, the inner workings of which I know is my job to keep a secret, but congratulations to J. Hannah White, the lighting designer for her brilliant stroke on that one. There’s also a more traditional improv game set up in the coat closet, at the bar, and up on the balcony, where the players pass lines to each other like a hot potato that is always unpredictable and fun. It’s these sort of moments that make us forget we’re watching the story being written in real-time.

Last but not least, all the cast re-assemble in the main hall to try and figure out for themselves who the murderer is. Things at this point can get rather tense, and apparently, a wrestling match broke out during this scene on Friday between actor Seth and Dr. David. The atmosphere teeters on melodramatic as actors are eliminated, concealed weapons are pulled, dead bodies lie on the couch and revealing letters are read… or none of these things happen and they just wing it, it’s really different every night.

What’s that? Sorry you missed it? I feel sorry for your too. This show could run every night down on International Drive if the team were so inclined. I don’t remember how much of Sleuths Dinner Theatre is improvised, maybe I’ll have to go back and do some post-game research. So far, the closest things I’ve seen to this level of story plus improvisation in such a long form are The Adventurer’s Club at Pleasure Island, which I would consider a distant script-heavy cousin of Muder We Wrote (all the endings are decided, most of the jokes and songs are repeated, but the cast is always changing), and SAK Comedy Lab’s The Early Show, which plays every other Friday at Midnight, and is completely improvised with no backstage magic, just the performers left to their own devices.

What makes these other productions around town the same or different from this show? In Murder, we the audience are all following this global discovery as we ourselves and the rest of the actors and around-stage hands and minds try to figure out the story. In regular improv or something more scripted, we either have a better or worse idea of where the ending is. We have an idea of how we think it could happen, and the several dozen people actually driving do as well, but there’s no way to know until the last possible moment when the killer reveals his or her secret and we have a collective pay-off. There’s lots more to say about what’s happening here and how they pulled off the format, but then this would be getting into research paper territory, and I’d need to start giving examples from other historic or contemporary works, and… well, we’re only blogging here!

I’ve never taken a theatre class in my life, and I graduated from UCF 4 years ago (almost to the day), but my biggest takeaway from this was a desire to enroll at Rollins under Dr. David Charles. You can tell everyone involved on this play was having such a great time, and the fact that people were coming back to watch a second, third, or even more showings is a testament to the fun and intrigue of this production, and the charm exuded by David and his cast. Congratulations to Megan Borkes, Ana Eligio, Joseph Bromfield, Chelsea Dygan, Erica Leas, Seth Strutman, Emily Smith, Roberto Pineda, Michael Neil Mastry, Danny Tuegel, Liz Weisstein, and Rob Yoho, along with all the other cast and crew, on an excellent run.