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ya got trouble
Apr. 3rd, 2005 09:44 pm.
I attended the Christopher Newport University production of "The Music Man" night before last, and enjoyed it immensely. As proof that the gods smile upon me routinely, I asked for a seat to a sold-out show and was seated next to director George Hillow, for whom I labored in "The Mikado" (2000), "Where's Charley" (2002) and "Company" (2003). As expected, Casey was fully up to the challenge of the lead role, and did it without imitating Robert Preston. It was, as always, a pleasure to see my fellow thezz-beans in their roles. A pleasure admixed by my unfulfilled desire to be in this production -- Cathy told me I could try out for it, but Reality whispered in my ear that there were sure to be weekends like this one, where I am taking care of Sarah by myself as Cathy's out of the house for a while. Anyway, actors I'd appeared with were spotted here and there about the stage: Mike, Justin, and Alex had all been in "Company" with me (my last performance at CNU, except for 'readings'). There were a couple of other folks who were after my time, but who I still knew well enough to congratulate. There were a couple of chorus guys whose names I didn't know, but who I had to tell anyway; they'd done great.
This is no surprise. George is tops at using his chorus. As a Gentleman of Japan in The Mikado, I was told by him that we had the weight of the show on our kimonos. We had two of the first three scenes, and fairly dominated the first half of the show. He worked with us to bring out character bits and ad libs. His signature phrase to the actors is "I Want to Hear the Words!" He means it, and gets shows where understandability is the baseline. He also comes up with, and solicits, hilarious bits of business. I think my favorite from Music Man might be the interpretive dancers, led by Eulalie Mackecknie Shinn. When a tall (Olive Oyl-like) danseuse can't balance a book on her head, she succeeds in balancing it on her face instead.
Anyway, folks were talking about things they'd seen lately, and it dawned on me that I'd actually gone out and done something and enjoyed it. Even better, I went out for a while with some of my theater pals who'd been at the show, and today two of them came over here to watch movies and eat tamales with me and Sarah. Sarah woke up and came out to see us after we finished with J-Men Forever, and entertained them for a good long while. She was "on."
I still have a 12-pack of tamales left. I need to call![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
geckoman and see if he wants to eat tamales with me tomorrow night.
.
I attended the Christopher Newport University production of "The Music Man" night before last, and enjoyed it immensely. As proof that the gods smile upon me routinely, I asked for a seat to a sold-out show and was seated next to director George Hillow, for whom I labored in "The Mikado" (2000), "Where's Charley" (2002) and "Company" (2003). As expected, Casey was fully up to the challenge of the lead role, and did it without imitating Robert Preston. It was, as always, a pleasure to see my fellow thezz-beans in their roles. A pleasure admixed by my unfulfilled desire to be in this production -- Cathy told me I could try out for it, but Reality whispered in my ear that there were sure to be weekends like this one, where I am taking care of Sarah by myself as Cathy's out of the house for a while. Anyway, actors I'd appeared with were spotted here and there about the stage: Mike, Justin, and Alex had all been in "Company" with me (my last performance at CNU, except for 'readings'). There were a couple of other folks who were after my time, but who I still knew well enough to congratulate. There were a couple of chorus guys whose names I didn't know, but who I had to tell anyway; they'd done great.
This is no surprise. George is tops at using his chorus. As a Gentleman of Japan in The Mikado, I was told by him that we had the weight of the show on our kimonos. We had two of the first three scenes, and fairly dominated the first half of the show. He worked with us to bring out character bits and ad libs. His signature phrase to the actors is "I Want to Hear the Words!" He means it, and gets shows where understandability is the baseline. He also comes up with, and solicits, hilarious bits of business. I think my favorite from Music Man might be the interpretive dancers, led by Eulalie Mackecknie Shinn. When a tall (Olive Oyl-like) danseuse can't balance a book on her head, she succeeds in balancing it on her face instead.
Anyway, folks were talking about things they'd seen lately, and it dawned on me that I'd actually gone out and done something and enjoyed it. Even better, I went out for a while with some of my theater pals who'd been at the show, and today two of them came over here to watch movies and eat tamales with me and Sarah. Sarah woke up and came out to see us after we finished with J-Men Forever, and entertained them for a good long while. She was "on."
I still have a 12-pack of tamales left. I need to call
geckoman and see if he wants to eat tamales with me tomorrow night..
