In the Works: The Velvet Gentleman

On Tuesday we gathered again at Theatre Row Studios to read and discuss the latest draft of Jon Steinhagen's The Velvet Gentleman: Being the Unusual Life of Erik Satie.

A year ago when we had our first table reading, the script had a cast of eight. This latest version has come down to a more manageable group of five. Back with us were Ted Schneider, Molly Garber, Bob Leeds, and Jonathan Wiener. New to the mix was actress Dale Soules. Also on hand to provide her thoughts was Jess Hooks.

I cannot begin to articulate how excited I am to have this group of artists reading and discussing the show. When working on an independently produced show you have to be prepared for inevitable casting challenges. People get paying acting jobs or become unavailable for a variety of other reasons. It is a fact of life and there isn't much you can do about it. But for at least this evening I had assembled exactly the group of people I would want to take right on to the stage.

The script still has stripped away the interaction of the theater company performing the play. It had been my hope to build this troupe from the ground up with the cast. I saw that based on the discussion after the reading with the actors that I could spend a year fleshing out the Altoona Dada Society. I am afraid that I haven't the skill as a director to accomplish this, and am going to have to change my approach to the material.

Jon Steinhagen has become increasingly enthusiastic about creating the cast of characters that make up the small town Dada Society. The plan now is that he is going to spend the next couple weeks working on the group dynamic, creating scenarios that will play out around the edges of the performance of "The Velvet Gentleman." Jon had worked out a short introduction to the show where we meet the Dada Society's members and find out a little about the origin of the show. We didn't get to read the introduction out loud because of the animated conversation after the table reading.

We will be hearing from the New York Fringe Festival in the next couple weeks so the next time everyone gets together we should not only have a new script, but we should know if we will be asked back to participate at FringeNYC for a second year.

In the Works: Intellectual Property

On Thursday March 25, we finally had out first reading of Intellectual Property. Reading for us were Chris Carfizzi, Margaret Champagne, Jill Gould, John Gregorio, Kate Erin Gibson, in addition to Playlab NYC alumni Todd Courson, John Pieza, and Bob Leeds. We were fortunate enough to have as our guests two of our contributors, Ted Wenskus and Alex Kozak. We were also lucky enough to be joined by Coffee Black Productions' Mike Bloom and Carrie Boehm. There is an inherent hit and miss quality to any anthology, and this was no exception. While some of the individual pieces are ready to go into production, the collection as a whole is not. A couple of the short plays would be well served by simply tightening the script, but others feel like their moments of topicality have come and gone. the strongest selections seem to be the ones that combine a classic story or play to popular culture. We had riffs on William Shakespeare, Nathaniel Hawthorne, David Mamet, and Samuel Beckett.

Reflecting on the collection as a whole, perhaps the opportunity to produce the evening has passed. intellectual property seemed to me like the perfect second show for Playlab NYC. It was conceived to be a collection of funny new works that would move us from the outdoor venue of our first show (The Tempest) into a little 60 seat Off-Off-Broadway space. We actually accomplished exactly this sort of show with our second production, Perfectly Natural. I'm less sure these days how Intellectual Property contributes to Playlab NYC's continued growth.

I had hoped that this project might appeal to Coffee Black Productions, and that by being Playlab NYC's first co-production that it would help our growth by building bridges to another company, and letting us put a toe in Brooklyn. Coffee Black had been producing a variety of readings in coffee shops around Brooklyn. given their collections of monologues and their plans for a multiple author retelling of the story of Persephone this seemed like a good project for us to pool resources. Alas it does not appear that Mike or Carrie would be interested in the project.

If there is to be a future for Intellectual Property I need to use this casual reading to find some clarity. Rather than focusing on fan-fiction and mash-ups of two different pop culture phenomenon, I need to stick with pieces that marry pop culture to a specific playwright or theater style. I will need to let some of the less focused contributions go, and will need to seek out some new selections. Because I didn't think that enough of the submissions that resulted from our playbill ad back in 2008 hit the mark, we will need to try a new tactic. I would like to get in touch with some playwrights whose work Jennifer and I enjoyed at last year's New York International Fringe Festival and see if they would like to contribute. There are also a couple short plays that I had been avoiding because they were published and I wanted to focus on newer works.

Given the success of recent shows like The Two Gentlemen of Lebowski at the Kraine Theatre, I still think that there is an audience for this project. Playlab NYC will continue to develop Intellectual Property until the time comes that it is ready to hit the stage.

In the Works: The Velvet Gentleman

On Thursday Playlab NYC once again gathered a group f friends together to have an informal reading of The Velvet Gentleman by Jon Steinhagen.

The Newest version of the script has temporarily stripped away the ragtag Pennsylvania theater artists from the script. The goal of this reading was to closely examine the script for the show within the show.

Reading for us were: Kate Erin Gibson, from Red Door Theater Company, new anointed Lab Assistant, Molly Garber; Jerrod Bogard; Margaret Champagne; Playlab NYC alumni Bob Leeds and Jonathan Wiener. And once again joining us as Erik Satie was Ted Schneider.

Also on hand to provide her thoughts was Jess Hooks. Jess was the costume designer for Professor Ralph's Loss of Breath. Along with Molly Garber, Jess is the newest addition to our roster of Lab Assistants.

After the reading, there was a great discussion of the material, and we gathered some wonderful feedback from everyone involved. On Friday, I passed along a number of thoughts and comments to Jon Steinhagen.

Playlab NYC looks forward to developing this new piece in the upcoming months.

In the Works: The Velvet Gentleman

Last Monday, playlab NYC got a group of friends together to have an informal reading of a new play, The Velvet Gentleman: Being the Unusual Life of Erik Satie as performed by what's left of The West Scranton Dada Society by Jon Steinhagen.

Erik Satie was a colorful avant-garde composer and pianist in early twentieth century Paris. In the play, a struggling group of artists from Pennsylvania creates a show that examines Satie's life and work.

Reading for us were: Kate Erin Gibson, the artistic director of The Red Door Theater Company; Katie Kozlowski; Amanita Heird; long time friends John Pieza and Todd Courson, who took part in last year's Loss of Breath workshop; from Playlab NYC's production of The Tempest, Molly Garber and Jonathan Wiener. And finally joining us as Erik Satie was Ted Schneider.

The reading was a productive one and we received great feedback from everyone involved. A couple days ago I passed along the actors' thoughts and comments to the author. Playlab NYC looks forward to continuing to develop this new piece.

In the Works: Loss of Breath

As we prepared Playlab NYC’s Loss of Breath application for the New York International Fringe Festival, Jennifer and I thought it was a good opportunity to sit down and hear the most recent draft.

If you have browsed out website at all you no doubt are aware that back in April of last year we had a two week workshop of Loss of Breath. For two weeks Todd Courson, John Pieza and I took the script apart and began the work of putting it back together again. Armed with Kenn Adams “How to Improvise a Full-Length Play,” Jeremy Whelan’s Tape Technique, and John Wright excellent clowning book, “Why Is That So Funny?” the three of us went back to Poe’s original short story. Using these improv and clown techniques we stripped the story down to its skeleton, allowing me to see which of the actions in the text were superfluous to the story of the play.

After two very productive weeks, I spent the next five months going over what I had learned. In October I had finished a new draft of the show, and decided we should work toward inclusion in the 2009 NYC Fringe.

Wishing to hear this new draft with fresh ears, this past Thursday Jennifer and I met with Jonathan Wiener and Bob Stack. If you saw the Playlab NYC production of The Tempest at Socrates Sculpture Park in June then I don’t need to tell you too much about Jonathan and Bob. Jonathan and Bob as Trinculo and Stephano did a lot of The Tempests’ comic heavy lifting. They had such wonderful chemistry together that I was eager to hear what they brought to the piece.

A casual environment with friends, the four of us sat around a table listening to this new draft. Needless to say the reading went well. I am thankful to Bob and Jonathan for taking time to sit down with us again. We are proceeding with our application. Keep your fingers crossed and check back again for more updates.

“Intellectual Property” Postponed

The time has come for me to admit that Playlab NYC is going to postpone “©” our evening of theatrical mash-ups, fan-fiction, and parody. It was a very important goal of mine to make sure that Playlab NYC produce two offerings during our first season. Given the financial climate of the country that just isn’t possible.

As we head into the holiday season it will be impossible to raise funds. Given the bleak outlook for established companies this year, I do not see how a fledgling theatre is going to able be to find donors.

I had sent out numerous rejection letters, but had held back on a small number of scripts. If you haven’t heard from me about your submission, I am sorry. It was simply because I continued to hold out hope of getting the show in front of an audience. Managing Director, Jennifer Wilcox and I became more wrapped up in raising the money than tending to the artistic side of the company.

Once it became clear to us that we were not going to be able to present the show in a traditional venue, we attempted to re-conceive the evening as a once a month presentation at a local coffee shop. Jennifer recently finished up a business plan so that we could pitch our evening to the owners, however the shop has just closed its doors. With that final possibility gone, we are out of short-term ideas of how to produce the show.

During the winter Playlab NYC is going to lay low and regroup. We will be back again soon. “©” is an idea we very much believe in, and Jennifer and I are going to find a new way to make sure that it comes to the stage. I will sit down in the next couple of weeks and contact each of the remaining playwrights who have submitted their work.

I am embarrassed by the situation. If you hadn’t heard from us it was simply because I liked your submission and was hoping to include it. My apologies.

Have a great holiday.

In the Works: Improbable Plays

About ten days ago Playlab NYC got a group of friends together to have an informal reading of a collection of short plays by our Lab Assistant Jon Steinhagen.

Titled THE IMPROBABLE PLAYS, the collection includes eight short plays:

“Everything But…”

An unhappily married couple have their daily antagonism kicked up a notch when their crafty kitchen sink let’s its special knowledge overflow.

“The Last of the Intruder”

The story of Goldilocks gains a new perspective when Papa Bear and Mama Bear tell their side of the story to a nosy reporter.

“Layers”

A dieting woman at a fancy restaurant has the misfortune to order Jell-O for dessert while in the presence of all her favorite sweet treats sitting on a nearby dessert cart.

“Panda Expressed”

New methods for increasing the world population of pandas lead to the sordid humiliation of a panda porn star.

“Reunion of the Reserve Heads”

Solid limestone reserve heads over five thousand years old are discovered in an Egyptian tomb and end up reacquainting themselves to life in the British Museum.

“Typical Abnormal Behavior”

An adulterous couple is treated to a shocking display of giraffe hi-jinx while having a rendezvous at the local zoo.

“Second Line of Defense”

A Southern belle and a queen bee relate the mysterious events leading up to a Yankee’s death during the Civil War.

“The Tempest Prognosticators“

Six leeches find themselves trapped in a mid-19th Century device for predicting storms and begin to question the meaning of life.

We had a last minute addition to our informal get together in a form a new play titled “Shelf Life.” In shelf life three movies on a shelf, including a silent movie, an early talkie, and blockbuster action film try to figure out what they have in common.

Reading for us were: Kirsta Peterson, who played Lady Macbeth in the Red Door Theater production of Macbeth that I had directed back in October; long time friend John Pieza, who was a part of April’s Loss Breath workshop; and from Playlab NYC’s inaugural production The Tempest, Bob Stack and Jonathan Weiner. And because we lost an actress at the last minute our own Managing Director, Jennifer Wilcox joined in the reading.

The reading while cold was very productive and we received great feedback from the actors. Of the nine titles, the highlights of the evening were “Layers,” “Panda Expressed,” and “Second Line of Defense.” Playlab NYC is passing along the actors’ notes and questions to the author. I’m sure this isn’t the last we have heard of Jon Steinhagen’s IMPROBABLE PLAYS.

Peter Breaks through

In college, my directing teacher, Bob Hetherington was once talking about a production of Peter Pan he directed at the University. He said that the best performance of the show that he saw was the run through just before going into technical rehearsals. That final day in the rehearsal studio was, for him, the most magical, before the scenery and costumes. It was more imaginative and more pure, watching actors pretending to fly, like children, than it ever was watching them hooked into harnesses and flying about the stage.

Bob’s story sparked something in my imagination that I have never been able to shake loose. Why not do a rehearsal hall production of J. M. Barrie’s famous play? Something that captures the feeling of story time in kindergarten, by inviting people to grab a carpet square and sit on the floor and watch a story unfold.

Matt Lageman was an actor I had worked with in nearly every show I directed at WSU, from my first to my last. I liked him very much, but he always seemed to end up playing the second banana in my shows. It was my intention to build the show around him. Matt was to be my Peter Pan, and the role of Wendy was to go to Lisa Roth. Lisa was an actress who’s work I always enjoyed, but who seemed underutilized in the theatre department.

Matt’s parents told him he couldn’t act in any shows because of his grades. For whatever reason he listened to them, and he told me that it he couldn’t be in the show. I couldn’t imagine doing Peter Pan with anyone else and it never came to pass.

If anything my desire to do a production of Peter Pan free of technical considerations and full of imagination is stronger now than it was fifteen years ago.

I look forward to a day, next spring, when Playlab NYC can bring it to you.

A Decided Loss

In New York, there seems to be a variety of theater companies reviving plays or musicals that have fallen into neglect. The Mint Theater Company and Musicals Tonight! are not only two such organizations, they are probably the most dedicated to preserving forgotten works.

Both the Mint and Musicals Tonight! have done award-winning work when it comes to unearthing lost treasures of our theatrical heritage. I find it unlikely that David Mamet would have adapted Harley Granville-Barker’s The Voysey Inheritance if it hadn’t been one of the Mint Theater’s many successes. And I will take the Equity Showcase Code presentations of Musicals Tonight! over City Center’s Encores! series any day. Whereas Encores! feels that Hair is a neglected show, Musicals Tonight! is bringing affordable presentations of lesser-known works by Irving Berlin, Rogers & Hart, and Victor Herbert to audiences again.

That said, from time to time I have come across scripts or references to some neglected little theatrical bauble, and I say, "Wow, I would like to see that on stage." And the person next to me usually says, "Did you say something to me?"

E. E. Cummings’ play HIM, Offenbach's Le voyage dans la lune, Dion Boucicalt's play Vampire, and Victor Herbert's adaptation of Little Nemo in Slumberland are the ones that immediately spring to my mind. But the one that calls to me the strongest is Professor Ralph’s Loss of Breath.

Like the Cummings play, I came across Loss of Breath in the Dunbar Library while attending Wright State University. On the third floor was the collection of plays. A collection that was such a mess you could never find anything for which you were actually looking. The only way to make use of your time, trying to find scenes for class work, was to sit on the floor and immerse yourself in the stacks. I confess that I spent a lot of time and money at the library’s copiers with out of print books, making myself whole copies.

Seventeen years later and I continue to be so tickled by the Professor’s puppet show, that I have been working for the last year to adapt it into a live action theater show. If you ask me Playlab NYC’s first toe in the water as a company was the two weeks in March that I was able to spend with my friends John Pieza and Todd Courson working on the text. Having the luxury to play with not only the original text of Poe’s short story, but also my photocopy of the original puppet script from WSU as well. I am indebted to John and Todd.

I hope that if you ever find yourself in Dayton, Ohio with a couple of hours on your hands that you will go to the Wright State Library and seek out Professor Ralph’s forgotten treasure.