"Once again the only thing that mattered was the work, except now he realized that the work was him. There is no separating yourself from the things you make, he thought. If you are a cesspool, what else can your work be except shit?" - Noah Hawley, Before the Fall
For the most recent production of The Song of the Nightingale, Town Hall Theatre had received a few grants to put on student matinee performances for local elementary schools. These special daytime performances would be an opportunity for children, many of whom may not have seen a live performance before, to see a shortened version of the show. Unfortunately, one of those schools - Shore Acres in Pittsburg - could not attend due to air quality warnings in the wake of the Sonoma County fires last month.
The lovely folks at Town Hall decided to coordinate and reschedule with Shore Acres to do a special on-site visit. We polled the cast to see who might be available, and once I knew who we had, I created a 20-minute reader's theatre presentation of the show which featured 5 musical numbers. We had no set, no props, no band (save for me on the keyboard), and minimal costumes. However, as soon as we began to narrate the story, we could tell we had the kids' attention! As Artistic Director Susan Evans put it, "They were rapt!" It was a delightful sight to see the faces of the kids light up and stay so engaged. Of course, this makes sense. Nothing is more powerful at painting the picture of a story than a child's own imagination. Even though they didn't get to hear all of the songs from the show or meet all the actors or experience all of the production elements, they still tracked with the story of the little bird who saves an entire kingdom with her song.
I'm partnering with TheatreWorks to produce The Four Immigrants original cast album -- and we are looking for generous donors to help fund the recording costs. The professionally recorded cast album will not only allow audiences to enjoy the songs from the show, but will also aid me as I meet with potential theatre companies about future productions. Your investment in the album is an investment in the future life of the show!
Every gift of $60 or more will receive your very own CD even as you support the creation of exciting new works! But, there are so many more gifts—even VIP experiences! So whether big or small, join our adventure by November 17 and in addition to your gifts, you will be entered into a drawing in which one lucky winner will receive a signed copy of The Four Immigrants Manga. Click the banner above to donate today!
Last night, I was honored to receive a Theatre Bay Area Award for Outstanding World Premiere Musical for The Four Immigrants. It was an exciting evening, to say the least! One particularly meaningful memory was when members of the TheatreWorks cast joined with actors from previous readings of the piece to sing "Furusato" together on stage. Thank you to everyone who has supported The Four Immigrants!
In case you haven't heard, we are also raising funds to help produce an original cast album for the show! To donate or for more info, CLICK HERE.
Recently, I've been considering how I can access more of my right brain while writing. This might sound redundant to some, since writing can be a creative act, and thus would tap into right-brain energy. However, I often feel that writing can become a very left-brain act for me, as I focus a lot on linearity, logic, and building a concrete structure. These aren't things to avoid, necessarily, but I do feel they can sometimes limit where I take my thoughts creatively. As I begin writing the script for Calafia, which occurs in a realm of fantasy, I want to allow my right brain to do some more conjuring without letting my left brain get in the way.
One way I thought of doing this was through movement. So, this week, I met with director/choreographer/teacher Michael Mohammed (director of the recent Town Hall Theatre production of The Song of the Nightingale), who gave me some ideas about how to connect movement of my body to the work I have to do as a playwright. Michael guided me through a handful of movement and gesture exercises. One of the most insightful was imagining the space I was in as a gravity room, where center stage has normal earth gravity, stage right has 200% gravity, and stage left has 0%. Walking back and forth, I was invited to explore the heaviness or lightness of my body. Then we layered on another gradient: emotion. What if stage right was anger at 200% gravity and stage left was joy at 0%? And what if you swapped the emotions? What if we tried fear or sadness?
For me, this opened up a new way of fleshing out my characters. I have already taken the exercise home and worked on it with some of the roles in Calafia. I'm discovering through posture and gesture what priorities or desires might exist for my characters. For the titular role of Calafia, for example, I learned that she would much prefer to stand in the middle with chest and head held high. And if circumstances cause her to head toward either the 200% or the 0% directions with her body, she begins to feel out of place or exposed. Her priority is to retain the status quo, but it might also be a cover-up for deeper emotions that she does not wish to express for fear that it will make her look weak or out of control. I don't think I would have learned this about her this quickly in another way, and this leaves me feeling very excited to continue bringing movement into my playwriting process.