To quote Simon and Garfunkel, hello blogger my old friend, I've come to talk with you again. Because actually this past year or so, I've been writing quite a bit, at the suggestion of my friend and acting teacher Michael Toomey. We met last summer (or maybe it was the spring? Let's say late spring or early summer) to work on some Shakespeare, at the time I had this idea (well I still have the idea it's just kind of dormant) to develop a piece exploring Hamlet through the lens of stand up comedy. I pitched this to Michael, and he basically said "Mike, why do you need to adapt Shakespeare's texts, can't you just write it yourself?"
And I haven't, at least not yet, but since that conversation I've been writing a lot more, mostly personal pieces not for public consumption exploring and understanding my own thoughts, but also some new poems... also not for public consumption, but maybe I'll put one up here sometime. Side note, did anyone reading this know me in high school when I published a body of poetry over live journal, most of which was awful? Good times but not really I was miserable in high school.
Anyway, I was reminded this thing I wrote in a few years existed, this blog, because the person I've been dating AKA my girlfriend has been reading Three Sisters for work, and earlier today we were talking about it and my experience playing Tuzenbach way back in 2013 for The Footlight Club and I remembered I wrote all these blog posts about the experience and I was like "holy shit, look at that, well this is interesting in a way I didn't think it would be at the time."
Because how could 23 year old Mike know in 2013 that 28 year old Mike would be interested in what he thought about Three Sisters? It's been so many years since I thought deeply about that play, I've done so, so much since then, including several break ups and relationships, starting a new life in a new city, finding my footing as a stand up comedian, a composer, and a writer, all this shit has happened and I feel so distant from that version of myself. But there he is, in those blog posts.
And here I am now, in this blog post, which maybe I'll look back on when I'm 33 and think "that's what I was thinking as a 28 year old?" Who knows.
I was really tickled by one of the lines in those Three Sisters blogs about how I didn't know if anyone would read it or find it useful or interesting besides my Mom (hi again Mom) because I do now, and hopefully my girlfriend does. And actually, not to toot my own horn but no actually I am giving myself a compliment, I had some pretty interesting insights into the arc of that character that I'd completely forgotten about, comparing him to Goethe's Young Werther and how he and Solyony are these mirror images of each other.
I wrote at the time that fundamentally they saw themselves as the heroes of there own stories, both romantic in nature, Solyony's vision of his story was epic and heroic whereas Tuzenbach's turns out to be a tragedy in nature, whether he means it to or not. That really resonates with me today. I think it's for us to relate to the world as the heroes of our own story, because we learn to relate to the world through stories in the form of films and television and I wonder if Chekhov or Shakespeare's audience was doing the same thing. Did they watch Hamlet, or Romeo and Juliet or The Three Sisters and imagine themselves as being analogous to those characters? David Wong writes at Cracked.com about how this kind of thinking creates a lot of dissatisfaction and misogyny, especially in men, who see stories about heroes accomplishing heroic things and being rewarded with beautiful women reduced to objects. Part of me thinks this is a fairly modern idea, and by modern I mean relating to the 18th century and romanticism, but then again story telling as a way of shaping how we see ourselves as a culture, a society and a people is a tradition as old as the spoken word, so who knows.
This relates to a lot of think pieces, you know the trendy ones about how millennial are garbage people who think there special because of course they are for being themselves? Which is something I'm guilty of, except wait I'm actually super talented, laugh out loud! Explicit arrogance! What is the tone of this piece supposed to be? Am I being satirical, self deprecating, or serious? Sorry I got caught in my head.
But I think that idea is in Three Sisters, Vershinin talks about it when he says that the sisters will pave a way for a new and better society. That these are characters are special and there lives are worthwhile, and Chekhov rather than giving us a straight forward dramatic story, shows the rhythms of people's lives on stage and how they give such great importance to everything they do, when in the end there just people and when the play is over, nothing is really different.
Having written this blog post, nothing is really different. I'm still not very good at ending my writing. But there is a document of me and my thoughts in this moment for you to read, and for me to read in the unknowable future, I'm curious to see what my thoughts are then.
Showing posts with label chekhov. Show all posts
Showing posts with label chekhov. Show all posts
Friday, April 28, 2017
Thursday, September 27, 2012
Revisiting Friends at the Serebryakov Estate
Well, hello there blogosphere! God I hate that word. Well, hello there people who read my blog! I realize it's been a while, my posts have become much more erratic since I was writing like a man possessed this past summer... well, I'll try to be better about it. Even though I still owe a post, partially written down the pipeline, on the intensive in Lecoq technique I took two, almost three weekends ago and also my foray into modern dance at Boston Ballet with my dance teacher... after tonight's rehearsal of the revival of Uncle Vanya, I just can't help blogging about it!
This is my second time revisiting a previously mounted production with an altered cast, the previous time having been when we did The Muse for Turtle Lane's Young Actor's Winter Festival and then it was accepted into the Samuel French Off Off Broadway Short Play Festival, and because the actor who'd played my counterpart had to work all that summer, we recast the role, with the other actor out of the cast of three remaining constant. And that was quite an interesting experience seeing how the play changed but fundamentally remained the same production.
It was also in many ways like visiting with an old friend, especially when we did it again for another festival the play was in consideration for where we quickly rehearsed and filmed it, again with another actor. Relearning the lines was like putting on a familiar suit, or I don't know something else you only wear for specific occasions, you come up with a metaphor.
In this case, I am reconnecting with old friends, specifically all the returning cast from our previous go around with this show, a few of whom I've had the pleasure of working with in the intervening time. It's also meant revisiting the music I learned to play on the guitar for the show last December, which is coming at a quite a good time for me musically actually, as in the last few months I've gotten back into guitar playing in a way I hadn't felt for sometime.
In addition of course I'm being reunited with Chekov's play... have I written enough about Chekhov in this blog? Frankly I have not! I remember being introduced to Chekhov in I guess what was basically my junior year of college, right before turning 21. In fact, it would have been right around this time that I would have been starting my Chekhov themed acting class with my teacher Scott Zigler whom I credit for first giving me many of the tools I use in my work today, much of it coming through that class.
I remember vividly how stuck I'd become in my work the previous year after working for two semesters with a very, very far out college director on productions of Suddenly, Last Summer in the autumn (which I actually thought was very good and nearly could have been disaster) and then Hamlet in the Spring (which was, in fact, a complete disaster and was the worst experience working in theatre I've ever had and if anything ever eclipses it God help me). This kid was super duper artsy and avant garde, I mean seriously, and I was 19 or 20 or whatever at the time so of course I was super into it and it came at a time when I'd been away from doing theatre for over a year, but that particular semester was when I discovered Common Casting at Harvard. Since Harvard doesn't have a proper theatre department, all of the shows on campus are completely extra curricular and run by volunteer students with support from technical and administrative staff at the American Repertory Theatre and the Office for the Fine Arts at Harvard. This applies to the casting process as well, which is completely open to anyone who wanders into the Loeb or other spaces where auditions are held and wants to sign up. After going through this process half a dozen times through my time at the Extension school, it's usually Harvard College kids who get parts. To be cast as a non Harvard College student (being part of the Extension school, I was not one of them) you needed to be very talented or very lucky or happen to audition for someone very much on the fringe of the theatre scene aka somebody craaaazy, which I later realized this director was, in a very particular way that was in part a response but stemming from the Ivy League environment and his own desire to be an artistic rebel. Ah, college! Anyway, working with this kid was an exercise in extreme stylization, which I was into at the time, and it's possible you've subsequently seen me give some pretty big performances, and that's what he was all about. The bigger, the crazier, the better. Anyway, to make a long story short, after two semesters working with this guy I'd practically forgotten how to act naturalistically. Mind you, before working with him in the first place I was still really figuring out how exactly to do that like you do when you're a teenager and I think in high school I came pretty close but who's to say?
Don't you wish sometimes you had footage of your high school plays? I'm thinking of one in particular where I was the lead, my first time doing anything dramatic. I felt at the time, even being about as self critical back then as I am now, that I did pretty well and I received some very positive feedback but oh wait Chekhov...
So anyway, working in that really crazy stylized environment I'd lost sight of what it meant to act like a human being after two semesters of doing crazy voices and crawling around on the floor. Being exposed to Chekhov at that time, who wrote for people to act like real people on stage and did so as beautifully as anyone has ever done, I think, from my limited exposure to world drama. At the time, I appreciated as an actor how wonderfully nuanced his scenes are. A case study in this was the first week of presented work, myself and two other groups presented the "seduction" scene from Uncle Vanya, featuring three very different pairs of Astrovs and Yelenas presenting three very different interpretations of the scene and final products later on. In fact, they were completely different, and maybe the juiciest thing for me about Chekhov is the sheer geometry of his writing, you can come at every line and character from so many different angles there's no one direction in the text, it's wide open to whatever you find within it. And that's what I needed to rediscover, being in a real moment and finding the things that make them real to you and to the characters and stepping away from the crutch of silly voices, like I'd been doing.
And in Vanya particularly, there are so many beautiful things to be found. Today for the first time I watched the full, new cast in action, as we rehearsed Act III, the play's climatic act with the seduction and the gun shot and it was the first time I'd seen my cast mates working largely off book and the first time I'd seen the act from start to finish, ever, come to think of it. Seeing it done, and connecting it with when I'd recently watched acts I and II I saw how our production came to be so popular, but also really came to appreciate Chekhov's skill with dramatic structure in a way that made me really want to go back and reread the major plays. Uncle Vanya in particular breathes and arcs so incredibly beautifully. Diego Arciniegas (maybe you've heard of him? He'll be playing Vanya this time) commented tonight in rehearsal the way that the lines of the play are so well distributed and it's true, it's really an ensemble piece. And that speaks to the way that each act begins with an intimate spark, with just a few characters on stage, which builds to a fire involving most of the cast and then disperses and settles again into another moment of sublime intimacy.
This Russian guy really knew what he was doing when he wrote these plays. And let me take a moment and point out the same is true for our cast and director, who are really crafting a unique and electric piece of theatre which I could not be prouder to be a part of. It's been really cool to watch, because basically the whole play had been staged ahead of time, so we've been working at a much more accelerated pace then I've become accustomed to, not that I really have all that much acting work but it's still cool to compare. Especially doing the play again with three new actors in leads, everything being in one way the same but also being so new and different, wow what an experience.
And that's why I just had to blog about it, because the experience will continue to evolve as we rapidly throttle towards opening... Yikes! October 10th! By which time I'll be 24. Did you know that? It's true. Lots of other things have been going on, I've had lots of ideas for blog posts, but lacked the focus and energy to put them down. Well, here's this one! Boom! Don't worry, I'll be back blogging at you soon.
This is my second time revisiting a previously mounted production with an altered cast, the previous time having been when we did The Muse for Turtle Lane's Young Actor's Winter Festival and then it was accepted into the Samuel French Off Off Broadway Short Play Festival, and because the actor who'd played my counterpart had to work all that summer, we recast the role, with the other actor out of the cast of three remaining constant. And that was quite an interesting experience seeing how the play changed but fundamentally remained the same production.
It was also in many ways like visiting with an old friend, especially when we did it again for another festival the play was in consideration for where we quickly rehearsed and filmed it, again with another actor. Relearning the lines was like putting on a familiar suit, or I don't know something else you only wear for specific occasions, you come up with a metaphor.
In this case, I am reconnecting with old friends, specifically all the returning cast from our previous go around with this show, a few of whom I've had the pleasure of working with in the intervening time. It's also meant revisiting the music I learned to play on the guitar for the show last December, which is coming at a quite a good time for me musically actually, as in the last few months I've gotten back into guitar playing in a way I hadn't felt for sometime.
In addition of course I'm being reunited with Chekov's play... have I written enough about Chekhov in this blog? Frankly I have not! I remember being introduced to Chekhov in I guess what was basically my junior year of college, right before turning 21. In fact, it would have been right around this time that I would have been starting my Chekhov themed acting class with my teacher Scott Zigler whom I credit for first giving me many of the tools I use in my work today, much of it coming through that class.
I remember vividly how stuck I'd become in my work the previous year after working for two semesters with a very, very far out college director on productions of Suddenly, Last Summer in the autumn (which I actually thought was very good and nearly could have been disaster) and then Hamlet in the Spring (which was, in fact, a complete disaster and was the worst experience working in theatre I've ever had and if anything ever eclipses it God help me). This kid was super duper artsy and avant garde, I mean seriously, and I was 19 or 20 or whatever at the time so of course I was super into it and it came at a time when I'd been away from doing theatre for over a year, but that particular semester was when I discovered Common Casting at Harvard. Since Harvard doesn't have a proper theatre department, all of the shows on campus are completely extra curricular and run by volunteer students with support from technical and administrative staff at the American Repertory Theatre and the Office for the Fine Arts at Harvard. This applies to the casting process as well, which is completely open to anyone who wanders into the Loeb or other spaces where auditions are held and wants to sign up. After going through this process half a dozen times through my time at the Extension school, it's usually Harvard College kids who get parts. To be cast as a non Harvard College student (being part of the Extension school, I was not one of them) you needed to be very talented or very lucky or happen to audition for someone very much on the fringe of the theatre scene aka somebody craaaazy, which I later realized this director was, in a very particular way that was in part a response but stemming from the Ivy League environment and his own desire to be an artistic rebel. Ah, college! Anyway, working with this kid was an exercise in extreme stylization, which I was into at the time, and it's possible you've subsequently seen me give some pretty big performances, and that's what he was all about. The bigger, the crazier, the better. Anyway, to make a long story short, after two semesters working with this guy I'd practically forgotten how to act naturalistically. Mind you, before working with him in the first place I was still really figuring out how exactly to do that like you do when you're a teenager and I think in high school I came pretty close but who's to say?
Don't you wish sometimes you had footage of your high school plays? I'm thinking of one in particular where I was the lead, my first time doing anything dramatic. I felt at the time, even being about as self critical back then as I am now, that I did pretty well and I received some very positive feedback but oh wait Chekhov...
So anyway, working in that really crazy stylized environment I'd lost sight of what it meant to act like a human being after two semesters of doing crazy voices and crawling around on the floor. Being exposed to Chekhov at that time, who wrote for people to act like real people on stage and did so as beautifully as anyone has ever done, I think, from my limited exposure to world drama. At the time, I appreciated as an actor how wonderfully nuanced his scenes are. A case study in this was the first week of presented work, myself and two other groups presented the "seduction" scene from Uncle Vanya, featuring three very different pairs of Astrovs and Yelenas presenting three very different interpretations of the scene and final products later on. In fact, they were completely different, and maybe the juiciest thing for me about Chekhov is the sheer geometry of his writing, you can come at every line and character from so many different angles there's no one direction in the text, it's wide open to whatever you find within it. And that's what I needed to rediscover, being in a real moment and finding the things that make them real to you and to the characters and stepping away from the crutch of silly voices, like I'd been doing.
And in Vanya particularly, there are so many beautiful things to be found. Today for the first time I watched the full, new cast in action, as we rehearsed Act III, the play's climatic act with the seduction and the gun shot and it was the first time I'd seen my cast mates working largely off book and the first time I'd seen the act from start to finish, ever, come to think of it. Seeing it done, and connecting it with when I'd recently watched acts I and II I saw how our production came to be so popular, but also really came to appreciate Chekhov's skill with dramatic structure in a way that made me really want to go back and reread the major plays. Uncle Vanya in particular breathes and arcs so incredibly beautifully. Diego Arciniegas (maybe you've heard of him? He'll be playing Vanya this time) commented tonight in rehearsal the way that the lines of the play are so well distributed and it's true, it's really an ensemble piece. And that speaks to the way that each act begins with an intimate spark, with just a few characters on stage, which builds to a fire involving most of the cast and then disperses and settles again into another moment of sublime intimacy.
This Russian guy really knew what he was doing when he wrote these plays. And let me take a moment and point out the same is true for our cast and director, who are really crafting a unique and electric piece of theatre which I could not be prouder to be a part of. It's been really cool to watch, because basically the whole play had been staged ahead of time, so we've been working at a much more accelerated pace then I've become accustomed to, not that I really have all that much acting work but it's still cool to compare. Especially doing the play again with three new actors in leads, everything being in one way the same but also being so new and different, wow what an experience.
And that's why I just had to blog about it, because the experience will continue to evolve as we rapidly throttle towards opening... Yikes! October 10th! By which time I'll be 24. Did you know that? It's true. Lots of other things have been going on, I've had lots of ideas for blog posts, but lacked the focus and energy to put them down. Well, here's this one! Boom! Don't worry, I'll be back blogging at you soon.
Saturday, August 4, 2012
Week filled with theater!
This has been and will continue to be a theater filled week. Not what I was expecting after wrapping up Rosencratz and Guildenstern just this past weekend, but so it goes!
Starting Monday was the beginning of living a dream in miniature... that being, playing the role of Konstantin in the Seagull. I say in miniature, because the context was that of a presentation for my friend Thomas' directing class. He needed someone on short notice who wouldn't require a great deal of directing to pull off a Chekhov role, which I fit the bill for, and inadvertently served as sort of an assistant director filling in gaps from the play and helping to shape the staging.
And you know what? It was overall one of the most artistically satisfied experiences I've had in a long time, in a weird way kind of on par with actually getting to play Tuzenbach (my favorite role after Konstantine, followed by what's-his-face that young socialist in Cherry Orchard, actually these are just Chekhov roles I can play before my mid 30s but because it's Chekhov I still love all of them). The reason being that unlike my other recent theater experiences, all of which were wonderful in their own ways... I felt a degree of freedom and also input, of true collaboration, like I was able to come in and really just do my own thing where the scene was concerned and give input without fear of overstepping a boundary (generally speaking, giving notes to other actors or on the piece as a whole as opposed to your part in it is a faux pas). And then it went from being one thing, to another, much more beautiful thing, in just three days and it was wonderful to watch that develop and feel like I took a real part in it, as more than just an actor, but again a true collaborator. (It actually got me thinking that I might be ready now to try my hand at directing, but that's for another blog post).
So that was Monday, Tuesday and Wednesday, Thursday I had an audition in Melrose of all places for someone I knew in high school's exploitation film, which I'll probably do some kind of a part in, depending on what they offer me (I don't really want to do anything super explicit, and was offered the role of "naked hippy" on the spot and which I declined, so we'll see). Again, that could be a blog post in itself.
Last night I went and saw All In The Timing by David Ives at The Factory, the first production from Amazing Moustache, a new theater company founded by someone I sort of know through Improv Boston and featuring various people I know through working with them, and although I found the sketches kind of uneven throughly enjoyed it and had fun seeing the work of my peers in the theater and improv communities combined. I'm looking forward to seeing what's next from Amazing Moustache, and would definitely audition for them in the future (I totally would have gone out for this, but it conflicted with R&G, ces la vie).
And then tonight, I saw Commonwealth's Coriolanus... not the most typical play to do a big budget out door staging of, but very well acted, very well teched, and very possible to follow, with some particularly strong performances I thought from Remo Airaldi, Karen Macdonald, Maurice Parent... oh and everybody else, they were all good. And it was also pretty cool seeing people I know from Boston theater acting in the ensemble/citizen roles, as well as my classmates from Yo-el's movement class.
When I had planned on auditioning for the production (which I ultimately wasn't able to do, due to a scheduling thing the day) I illegally downloaded and watch (nobody tell the MPAA or Comcast on me!) the recent Ralph Fiennes film adaptation, which I think will actually be coming out on DVD fairly soon and when it does... oh man, Nextflix that shit, it's really fantastic. Ralph Fiennes sets in modern day Eastern Europe, which makes certain scenes extra trippy in that you could see how a crowd would go on a riot due to a food shortage and then more so when he goes cross country, hitch hiking to Volumnia and he's just completely unconcerned with making Coriolanus sympathetic he just plays him with such brutality... it's something to see.
So anyway, I think somewhat unfairly (although it also helped enhance my experience because I knew better what was going on) I spent a lot of the time that I was watching it comparing the two, and of course film is a completely different medium from theater so there's not much point in going in to the differences. This production was much more invested in giving Coriolanus a sympathetic level of depth, and was much more sparing on the text, whereas of course the movie version cut it down to shreds and back. And the actor playing Coriolanus was much more explicitly charismatic and less psychotic then Ralph Fiennes, and this version idolized Coriolanus in a way the movie didn't. I could go down the list, but even though I didn't enjoy it as much as last year's All's Well That End's Well, I think it's very worth seeing before it closes next Saturday especially because who the hell ever stages Coriolanus? Practically nobody, so check it out.
The cap to this weekend filled with theater is that I'm waking up at 8 AM to meet my collaborator on The Last Jews, Larry Jay Tish who will be driving with me out to Lenox for the next stage of the project, a staged, filmed reading, footage from which will be used in conjunction with Kickstarter to fund a full production some later this year or next, which is exciting. In addition, this particular round of readings are being hosted by my friend and also collaborator on the project, Chuck Schwager's new theater company, Pythagoras Theater Company. So I'll be hanging out in Lenox for two days, Chuck, Larry, Bobbie Steinbach and myself. We'll be doing a reading tomorrow afternoon, then seeing King Lear at Shakespeare and Company (my first time seeing it) and doing another reading on Monday before coming back.
Theater! Oh yeah! OK I should go to sleep, check you later, blogosphere.
Starting Monday was the beginning of living a dream in miniature... that being, playing the role of Konstantin in the Seagull. I say in miniature, because the context was that of a presentation for my friend Thomas' directing class. He needed someone on short notice who wouldn't require a great deal of directing to pull off a Chekhov role, which I fit the bill for, and inadvertently served as sort of an assistant director filling in gaps from the play and helping to shape the staging.
And you know what? It was overall one of the most artistically satisfied experiences I've had in a long time, in a weird way kind of on par with actually getting to play Tuzenbach (my favorite role after Konstantine, followed by what's-his-face that young socialist in Cherry Orchard, actually these are just Chekhov roles I can play before my mid 30s but because it's Chekhov I still love all of them). The reason being that unlike my other recent theater experiences, all of which were wonderful in their own ways... I felt a degree of freedom and also input, of true collaboration, like I was able to come in and really just do my own thing where the scene was concerned and give input without fear of overstepping a boundary (generally speaking, giving notes to other actors or on the piece as a whole as opposed to your part in it is a faux pas). And then it went from being one thing, to another, much more beautiful thing, in just three days and it was wonderful to watch that develop and feel like I took a real part in it, as more than just an actor, but again a true collaborator. (It actually got me thinking that I might be ready now to try my hand at directing, but that's for another blog post).
So that was Monday, Tuesday and Wednesday, Thursday I had an audition in Melrose of all places for someone I knew in high school's exploitation film, which I'll probably do some kind of a part in, depending on what they offer me (I don't really want to do anything super explicit, and was offered the role of "naked hippy" on the spot and which I declined, so we'll see). Again, that could be a blog post in itself.
Last night I went and saw All In The Timing by David Ives at The Factory, the first production from Amazing Moustache, a new theater company founded by someone I sort of know through Improv Boston and featuring various people I know through working with them, and although I found the sketches kind of uneven throughly enjoyed it and had fun seeing the work of my peers in the theater and improv communities combined. I'm looking forward to seeing what's next from Amazing Moustache, and would definitely audition for them in the future (I totally would have gone out for this, but it conflicted with R&G, ces la vie).
And then tonight, I saw Commonwealth's Coriolanus... not the most typical play to do a big budget out door staging of, but very well acted, very well teched, and very possible to follow, with some particularly strong performances I thought from Remo Airaldi, Karen Macdonald, Maurice Parent... oh and everybody else, they were all good. And it was also pretty cool seeing people I know from Boston theater acting in the ensemble/citizen roles, as well as my classmates from Yo-el's movement class.
When I had planned on auditioning for the production (which I ultimately wasn't able to do, due to a scheduling thing the day) I illegally downloaded and watch (nobody tell the MPAA or Comcast on me!) the recent Ralph Fiennes film adaptation, which I think will actually be coming out on DVD fairly soon and when it does... oh man, Nextflix that shit, it's really fantastic. Ralph Fiennes sets in modern day Eastern Europe, which makes certain scenes extra trippy in that you could see how a crowd would go on a riot due to a food shortage and then more so when he goes cross country, hitch hiking to Volumnia and he's just completely unconcerned with making Coriolanus sympathetic he just plays him with such brutality... it's something to see.
So anyway, I think somewhat unfairly (although it also helped enhance my experience because I knew better what was going on) I spent a lot of the time that I was watching it comparing the two, and of course film is a completely different medium from theater so there's not much point in going in to the differences. This production was much more invested in giving Coriolanus a sympathetic level of depth, and was much more sparing on the text, whereas of course the movie version cut it down to shreds and back. And the actor playing Coriolanus was much more explicitly charismatic and less psychotic then Ralph Fiennes, and this version idolized Coriolanus in a way the movie didn't. I could go down the list, but even though I didn't enjoy it as much as last year's All's Well That End's Well, I think it's very worth seeing before it closes next Saturday especially because who the hell ever stages Coriolanus? Practically nobody, so check it out.
The cap to this weekend filled with theater is that I'm waking up at 8 AM to meet my collaborator on The Last Jews, Larry Jay Tish who will be driving with me out to Lenox for the next stage of the project, a staged, filmed reading, footage from which will be used in conjunction with Kickstarter to fund a full production some later this year or next, which is exciting. In addition, this particular round of readings are being hosted by my friend and also collaborator on the project, Chuck Schwager's new theater company, Pythagoras Theater Company. So I'll be hanging out in Lenox for two days, Chuck, Larry, Bobbie Steinbach and myself. We'll be doing a reading tomorrow afternoon, then seeing King Lear at Shakespeare and Company (my first time seeing it) and doing another reading on Monday before coming back.
Theater! Oh yeah! OK I should go to sleep, check you later, blogosphere.
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