Why ask me to come?

Something that never makes sense to me is when someone asks me to come see a show of theirs, but then tags on, "Please, don't review it." I recently (let's say yesterday, because it was, indeed, yesterday) received an e-mail telling me that I should go to see one of my friend's shows, and that upon seeing it, I should try to get to word out about it. BUT, "please, don't review it." This is the same sort of behavior that led me to start this column to begin with a couple of years ago. At that time, I'd gotten fed up with friends making me feel obligated to see their Fringe shows, and then getting upset with me when I disliked it, even when they themselves thought the show was bad. In response, I devised a way to randomly determine the shows that I go to see in the Fringe, thereby avoiding going to see bad shows due to the obligation of friendship. Granted, I still occasionally see bad shows, and I sometimes see bad shows with friends in them, but I am not there because of the friend, it is coincidental, and I feel much less pressure about attending.

Here's a hint, folks: If you think your show isn't worthy of being reviewed, then it's probably not good to invite the reviewer. Another hint: Don't tell the reviewer, your friends, or anyone else, in the e-mail that you send inviting them, that you don't think it should be reviewed. That's a warning sign. A big red flag. It is an indication that you think the show is less than what it ought to be, and I'm not going to be inclined to shell out money to pay for it. Give your own shows positive press. And just remember that any publicity is good publicity in the event that someone does write about it in a medium that a bunch of people might read.

There is one group that I tend not to review, and that is educational theatre. I attended a performance last night of Frankenstein in Love at the Xperimental Theatre at the University of Minnesota. I knew someone in it, and I love seeing young actors learning the trade. That's all I have to say about it. I believe it is unfair to criticize or elevate those who are on the path to learning how to act, direct and design. BUT… once they are out in the real world, I see no reason to not review a play, even if it is in a setting for experimental works, or a workshop. As a reviewer you review the things that are appropriate. If it is a staged reading, I don't review the acting. That's not what is being put on display. I would likely comment on the strength of the script, however. Make sense?

I do have one friend who I told the other night that I was planning on coming to his show the next evening. He said, “I wouldn't.” That's fine with me. I didn't. He gave me a fair assessment of why to not see the show he was in. I, oddly enough, do not have a problem with someone knowing that their play is bad and telling me so in confidence. That is, so long as they are to telling me that and still begging me to come see it.

Okay… enough ranting for the moment.

On to random stuff:

I bought a banjo yesterday. Until now I have been able to play bass guitar, tuba, and bamboo flute (as well as having rudimentary skill on the slide trombone), but I felt a need to learn another instrument…actually, two. I also bought a ukulele. I started learning to play the banjo this morning via a DVD lesson. The Uke will wait for a little bit, I think.

While I have to performances of Reeling at the Children’s Theatre Company today, I also have two short plays to finish by midnight and a scene for my screenwriting class at UNO. Any idea what I’ll be doing backstage?

Three nights ago there was an unusual event: the constellation Orion was clearly visible from my front porch in St. Paul. Normally the lights from the rest of the city obscure the stars, but it was so beautiful that I ran in the house and got everyone to come outside and see the stars. It came to pass that I had to explain the constellation to everyone else. The belt, the sword, and the tunic where clear as day (well, night, really). It was exciting to me. I’ve probably bored you to tears with that bit of info. If so, I'm sorry.

I’m thinking of getting a pair of these for my car before the 2006 fringe: Check these out!

Are you as Hooked On Facts as I am?: "The country of Brazil is named after the brazil nut." -- Good thing we didn't name our country after the kind of nuts here, or we'd live in the coutry of Pecan.

I have started culling the list of companies that made it into this upcoming Fringe Festival, and I am really excited about it.

Once upon a time, there was a big, scary toad. This wasn't just any ordinary toad. No, it was a toad that stood twenty or thirty feet high. It had greenish brown skin and gave off a mist of swampy aroma from its moldy hide. Why was its hide moldy? I do not know. Why the swampy aroma? No one has ever given a reasonable answer. But this toad was just like that. Yes, it was. Yes, it was.

I’m going to go see a show tonight. I’m looking forward to it. I think I’ll go to Jeune Lune. That ought to inspire a little out-of-the-box thinking on the scripts that I need to tackle over the next few days.

My daughter is spending a week with her Grandparents (my mom & dad). That is such a sweet thing. I slept in today for the first time in I don’t know how long.

What the heck is up with that toad story? I don't get it.

Shakespeare by Mann

Well I'm just recovering from this past weekend. I mean that in myriad ways. My health wasn't terrific, as I caught some sort of thing that my flu shot didn't protect me from. AND I tried to fit a whole bunch of activities into the weekend, too. I saw 1.5 plays, photographed another one, wrote a play, editted a different one, and fit in a bit of time to fight with the webserver that my parents host their site on. Fun, eh?

So... What to tell you about?...hmm... how about a show I saw at TRP. I went to Twelfth Night, which had been directed by David Mann.

Mr. Mann placed this production in the 1960s in Cape Cod. Now, updating a Shakespeare setting is done all the time, often unsuccessfully. Mann's director's notes gave a plausible reason for setting the play as he did, and that set me with hope. The incorporation of music with a 60s feel helped carry things along in this theme. I especially approved of the accoustic renderings of songs by the Ventures. Dan Sarka did a nice job with that. And another musical interlude that included two of the actors joining in on percussion captured a beautifully whimsical attitude. This is a whimsical play, so that's probably a good thing.

I really enjoyed two performances above all... those of Mo Perry (seen in 2005 Fringe on stage with a snake in "Talking With..." by In The Basement Productions), and Leigha Horton (Voice of the Fringe!!!). Perry's Olivia was believable and solid. She was by far the best developed character on the stage. Her changes in mood and thought were well motivated, and entirely convincing. She worked with the language to make it seem completely natural, not recited. Beautiful.

Horton set the tone of the play by playing a cross-dressed jester that seemed somewhat akin to some John Lovitz character from once upon a time. She was the singing minstral of this show, and it was nice to hear her intone the new songs by Donald Sweet.

Other parts that I thought were good: Craig Johnson as Malvolio was effective; not unlike most interpretations, but effective and funny. Two of the smaller parts were very effectively played by Grant Henderson and Brian O'Neal. They were their parts (Orsino's officers) every time they took the stage.

Now...my other thoughts... If one sets Shakespeare in a new, updated setting, then the justifications have to run through the show entirely. A clapboard wall and a few dated costumes do not a concept make. There was little indication through the action that we were in 1960s New England. Not one Yankee accent was to be heard. Nothing specifically was on stage to make it seem like New England at all. The music and some of the costumes were the tie-in. That's it.

Was Stephen Frethem's Orsino supposed to be a Kennedy-esque personage? Don't know. It would've been a bolder choice had that been the way it went. Malvolio was handled as he normally is in a traditional production of this show...what made it worth updating? One attempt to update that nearly worked was that of turning Maria into a Marilyn Monroe type character. It could've gone further, but it was clear what was going on with her, at any rate.

The characters that are often the comedic relief (Sir Toby Belch, Sir Andrew Aguecheek, and Fabian) were played adequately. On reflection, most of the show was just that...adequate.

I know there are limitations with the space, and that physicality isn't always as easy in the round, but this seemed to be a very static production, even when the characters were in motion. Most of the movement seemed to happen because the director said so... Perry, Johnson, and Horton are exempted from this statement.

Now...in case you've never seen Twelfth Night, I'll let you in on a little secret: The play hinges on having two characters that look somewhat similar. Now, that being said, I have seen productions in which the two look nothing alike and it is played as a joke throughout, and that can work. This production, however, cast a woman 6-8 inches shorter than her maile counterpart who played the part in a very high voice, as opposed to his much lower one. They walked in two completely different ways, and their one physically similar feature is short blond(e) hair. I was dissapointed that more wasn't done to make them similar, or make them different. It was a shot straight down the middle. The situation did cause me to laugh out loud at one point when it was mentioned that the two could not be more alike. I feelt bad about laughing, but it had to be done.

If you want to see a stellar Olivia, Feste, and Curio & Valentine, go to this production. I will remember these folks in those roles for a long time. For now, I still think of Karen Wiess-Thompson as Toby Belch (from Pigs Eye's production a few years back) and John Smoot (American Players Theatre) as Malvolio. I'm still searching for the quintessential experience of most of the other characters...for now.

Okay...time for the random stuff:

I also took pictures at the photo call for In The Basement Productions' Scapin...there are only two shows left of this show...go see it.

Frogs are my friends!

If you spell my full name backward, it looks like this: Reddik Revilo Rehpotsirhc

Trivia time thanks to Hooked on Facts: "TIME Magazines Man of the Year in 1938 was Adolf Hitler.." -- Whoops!

"Don't pay the ferryman. Don't even fix a price. Don't pay the ferryman, 'til he gets you to the other side." -- Chris DeBurg

The Lottery from afar

This year's Fringe Lottery is now past. I wish I could say that I was able to attend, but I wasn't. Originally I had planned on being there and videotaping the entire process so as to provide clips for your viewing pleasure. However, those plans fell through as I developed a short-notice conflict.

Back in 2002 I started my affiliation with the Pillsbury House Theatre by working on their show Mr.
Bundy. By being involved with that
show, I met Brian Goranson, who invited me to write for something called the Chicago Avenue Project. Monday night and last night that program celebrated its 10th year, and we playwrights, directors, and actors who've been involved over the
years were invited to take part in the celebration. I also suddenly found myself running the lights for the event. So, by being at the Pillsbury House, I wasn't at the Fringe Lottery.

That being said, I did have some notice passed my way that my production was better fated this year than it was last year. Mr. Everett, my friend and fellow blogger,
informed me that my lot came up (Commedia Beauregard), as did Ferrari McSpeedy
(another company that was excluded last year). It will be sweet to produce in the Fringe again. I do have some challenges ahead of me. Producing from Spain this summer will be somewhat
difficult. But, my promise to you is
that what I put up will be entertaining and worth the extra effort.

The official list of shows that made it into the Fringe has now been released. Now I’m able to let you know which productions I'm looking forward to, who I hope will claw their way in off of the waiting list, and all that sort of stuff.

I’ll do that in my three following posts…

Now for a bit of organized chaos:

• Buster
  Keaton once broke his neck whilst filming a movie in which thousands of
  gallons of water were dumped on his head.
  You can see a play based on his work currently at the Children’s
  Theatre Company, and if you come during the matinees, then you’ll see me
  in it, too!


• In
  case you didn’t know, the Vulcans won and Spring will be returning to w:st="on">St. Paul once again
  this year. Anyone ever hope that
  the Vulcans lose some year, just to see what happens?



• Today’s
  trivia from www.hookedonfacts.com:
  “ It costs about 3 cents to make a $1 bill in the United States.” – Now, that's what I call a return on your investment!


• I have
  very little to say otherwise, today… So, on to the next entry.

Two days ago & four days from now...

So... I did it. That's right! I submitted my application to the 2006 Minnesota Fringe Festival to produce a show. Now I wait for the lottery on Monday the 6th. I am not alone while I wait. Two hundred eighty-three other folks submitted applications this year. That's about 40 shows more than last year's lottery according to the e-mail I just got from Mark Franko at the Fringe office. I didn't get in last year. I'd just like to point that out. Forty more shows in the drawing...that's got to affect the odds. One hundred and fifty shows are going to get into the Fringe this year. So my odds are just a smidgen better that 50-50 of getting in. The whole thing is a crap-shoot. And that's the way that it is supposed to be!

One of the best things about the Minnesota Fringe Festival is that the selection of shows and companies is entirely non-juried. The folks down at teh home office keep things fair through the lottery. Last year was the first time they tried the lottery, and we were treated to a bunch of companies that had never been involved before, while some old favorites didn't get a slot at all. I didn't last year. This year, my luck might change. It is reassuring that I have the same chance of getting into this thing as Ari Hoptman (also excluded from producing last year) or Joe Scrimshaw (made it in again last year).

I was initially planning on video-taping the festivities of teh Fringe Lottery, but I've now made a commitment to be elsewhere, and will be unable to attend. But, you can bet your bippy that I'll be eagerly looking at that list as it comes out on the 8th via e-mail. And I'll keep you posted. In the meantime, cross your fingers for ping-pong ball #223.

Well, time for something random, I guess:
I have seen a couple of shows recently that I should mention: Aladdin Jr at the Children's Theatre Company was terrific. I especially want to send "props" to Stephen Young, who ran the puppet of Iago. My daughter really enjoyed the puppet during the play, and loved when Mr. Young popped out for curtain call. The other show I need to mention is "We Gotta Bingo." It's playing in the Lowry building in Downtown St. Paul. Go see it. It is very funny, very fun, and it has good people in it. It was soooooo good to see Robin Hart, Brandon Williams, and Ellen Karsten doing their thing. The others were good, too.
I got a Mad-Libs daily calendar for X-mas this past December. It's a lot of fun thus far. For tomorrow I have to come up with an adjective, a verb ending in -ing, two singular nouns and one plural noun.
There is a certain story-teller in town who needs to give me a call. I still owe her an evening of Scotch-tasting at the Town Hall.
A fact from http://www.hookedonfacts.com">Hooked on Facts: "Grapes explode when you put them in the microwave." -- Unless, of course, you neglect to turn the thing on.
School is back in session for the University of New Orleans!
I can't say I've never won anything when entering drawings. I once won a small handheld electronic game (back in 1981-ish) and in 1999 I won a gas-grill BBQ. I truly fear that my luck has run out for such things.
It was a lot of fun being part of the last seires of "Thirst Theatre." Now that the next seires is up and going, I'm feeling lonely on Monday nights. I'm thinking I have to coordinate a group outing to Thirst in a week or two.