Wednesday, July 29, 2009
- You know when we started this theater company I never realized how much damn work goes into starting a business. Effort is really hard.
- I have been struggling over the many options for my next tattoo. I’ve though about a really large tree that went up the side of my body or maybe a recreation of a painting by Chagall. I wanted something of which I could be proud; something that really says, "You are a tattooed bad-ass." I decided on a life portrait of Jim Henson and Kermit the Frog.
- I’m at the dreaded actor hump portion of the rehearsal process right now. Anyone who has ever been in a play knows the moment I’m talking about. It’s when all of your previous choices that have been working just fine since the first reading suddenly become stale and predictable. It’s at this moment that you’re forced to find new and insightful moments so as not to bore the director or yourself. The problem is that this is a really, really good and smart script. I have this monologue that may potentially be the most beautiful piece of writing I’ve seen in a long time. This is my problem. I get lost in the perfection of the words and forget that there is a scene in which these words have weight and purpose. Sigh… I need to suck it up and kick some butt because you, yes you omniscient reader sitting in your 4 x 4 cubicle, you need to see this show and experience something other than the mundane. I will do my best to deliver. You better do your best to come.
- I just found a two-inch long hair growing out of my forearm. What the hell is that? It’s like when you turn thirty suddenly your body hair triples in length and quantity. By the time I’m forty I won’t have to wear a coat.
- Helen Keller walks into a bar. The bartender says, “What’ll ya have?” Helen Keller says, “…......”
- I think I’ve strayed from the purpose of this blog. Oh well.
Tuesday, July 28, 2009
The time ran pretty well for a first run – especially with new material. Found some new things in my character’s act II climax scene.
The company works like I haven’t worked since Southern Methodist University – late night rehearsals – staying focused after a day’s work for most of us, most days. Allison especially has the unwavering focus borne of the skilled worker on a good project. Josh’s character – Nick – gets a bit more brutally effective every time we run the scenes in which he’s intoxicated – there are a few of those.
Shout out to Jeffrey for rocking this publicity thing so mercilessly. He’s treated us cast members like film stars. And the crew in whole has treated my wife and I like family.
Money, Money, Money will be performing at the fundraiser Aug 6th. We’ve got a few new songs to lay on the crowd - so I hope you’ll be joining us there. Dress Noir, I’m thinking it might look something like that night-club scene in Dark City with any luck.
Further bulletins as events warrant.
Game On. Byron Melton.
So in this play, Barbara Stanwyck comes up a lot. Having only known her in comedies, it was an eye opener to see all of the other work she did and how long she acted. In the play she comes up as a drink (a lot) and the character Barbara “like Stanwyck” references her.
Here’s a little about her, borrowed liberally from IMDB:
Ruby Catherine Stevens
Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western "The Big Valley" (1965), wherein she played Victoria, and from the hit drama "The Colbys" (1985). But she was known to millions of other fans for her movie career, which spanned the period from 1927 until 1964, after which she appeared on television until 1986. It was a career that lasted for 59 years. She was an extremely versatile actress who could adapt to any role. Barbara was equally at home in all genres, from melodramas, such as Forbidden (1932) and Stella Dallas (1937), to thrillers, such as Double Indemnity (1944), one of her best films, also starring Fred MacMurray (as you have never seen him before). She also excelled in comedies such as Remember the Night (1940) and The Lady Eve (1941). Another genre she excelled in was westerns, Union Pacific (1939) being one of her first and TV's "The Big Valley" (1965) (her most memorable role) being her last. In 1983, she played in the ABC hit mini-series "The Thorn Birds" (1983), which did much to keep her in the eye of the public.
Her stage name was inspired by a theatrical poster that read "Jane Stanwyck in 'Barbara Frietchie.'".
In 1944, when she earned $400,000, the government listed her as the nation's highest-paid woman.
Often called "The Best Actress Who Never Won an Oscar."
Her mother died when she was accidentally knocked off a trolley by a drunk. Barbara was four at the time.
Was listed #11 on the American Film Institute's "100 Years of The Greatest Screen Legends."
Her stormy marriage to Frank Fay finally ended after a drunken brawl, during which he tossed their adopted son, Dion, into the swimming pool. Despite rumours of affairs with Marlene Dietrich and Joan Crawford, Stanwyck wed Robert Taylor, who had gay rumours of his own to dispel. Their marriage started off on a sour note when his possessive mother demanded he spend his wedding night with her rather than with Barbara.
She did not have a funeral and has no grave. Her ashes are scattered in Lone Pine, California.
Her performance as Phyllis Dietrichson in Double Indemnity (1944) is ranked #98 on Premiere Magazine's 100 Greatest Performances of All Time list (2006).
A Star Is Born (1937) starring Janet Gaynor and Fredric March is said to be modeled after Stanwyck's rise to stardom and first husband Frank Fay's descent into obscurity.
More info can be found at IMDB.com