Tag Archives: Festivals

FARM STORY’s in the can…almost…

Ok, so it’s been about a month since the bulk of our filming finished and this virtually-impossible-to-write blog post is getting written today if it kills me. Why “virtually-impossible-to-write,” you ask? Because putting this experience into words is ridiculously hard. Thus far this has been the definition of indescribable, but for my loyal readers, (hi mom!) I will try. Before I really begin, a status update:

Editing begins…

The SHOW is not yet done, not nearly done. Yes we have 99% of the show shot. BUT, number one – 99% is not 100% (we still have a couple of inserts and establishing shots left to film in NY), and number two ”principal photography is done” does NOT mean “the show is done.” There’s still all the post-production work to be done – color correcting, scoring, title sequence, ADR, music…oh, and, you know – THE EDITING! And THEN, after it is finished, after it is put together, and the production work and the post production work are done – for real and for true – Terri and I still have to find a network or production company that wants to fork over the money to make the next five episodes (or better yet – the next five years of episodes) and then, when that happens, we need to start the whole production process all over again for episode two. BUT!!! We’ve come this far, and Peeps? This is a pretty far way to come. So here and now, I will attempt to relate this experience – shooting my first TV show…

Some of the ferns of which I speak…

A quick disclaimer before I go into more specifics: I have a terrible memory. I remember things in snippets and moments but not as whole experiences (for all I know this is how everyone remembers things but it always seems slightly disconcerting to me that I can remember the smell of the ferns in the grove on my wedding day in the exact moment I said “I do,” but can’t remember what I did last Thursday night – like, the entire night is a blank to me, and I wasn’t even drinking, wait was I?) This is why I take so many pictures and why the invention of the smartphone camera was a blessing for me and a frustration for my husband – “put the phone away and experience the moment,” he says. “But I want to be sure I can remember the moment!” I say. Anywho, that memory thing coupled with the fact that I’m a born storyteller – always editing and embellishing the actual experiences of my life so they make a better story – means you’re not going to get accurate reporting from me BUT, you’ll hopefully get a good story. So! Here’s the story (or at least some of the story) of the Farm Story shoot:

There were so many unreal and amazing parts of this experience, so many moments where I couldn’t process at all the immensity of what we were doing. Don’t worry, I know we are just making a television show, not curing cancer or anything, BUT! we are making a television show! I mean, not a little home movie on a camcorder, a real honest-to-god TV show. With a cast of 14 and a crew of 20 and a bunch of locations and a production van and a picture car and 2 kids and a dog and a cat and a rooster named Leroy. And that is huge (not the rooster). In fact, it is so surreal to me that while we were filming I had a moment where it hit me and I  stopped, dumbfounded, in the middle of a residential street in Staunton, Virginia. I actually stopped dead as it hit and said out loud, “holy good lord. We’re making a TV show.” (To which cast and crew around me were like, “uh, yeah, where have you been for the past week?”)

North Market Street, the location of the gut punch…

But, you see, for the eight months leading up to the shoot, I had been in producer/director mode. For all of Pre-Production, I was in head-down, producer “triage-the-problem” mode. You know, just getting it done. And for the last two weeks of pre-production, and the first week of filming, I was in head-down, “figure out what I want artistically, explain it to the cast and crew, and figure out how to get that filmed” mode. Basically, from January to September, I never had a chance to stop and realize that this was a big deal in my life and so, on that Saturday afternoon, on North Market Street, in the middle of Staunton, Virginia, the realization took hold and physically forced me to stop and observe what was happening – even if it was just for a second. In fact, it was such a strong feeling that I was briefly unable to function (it felt like what I imagine it feels like to be gut punched, but without the pain) as everyone around me did their thing – set up the lights, put the picture cars in place, touched up makeup and hair, held reflectors, prepped microphones, wrangled the kids, and just generally got ready to film the scene. And I looked around and saw all these people and I thought to myself, “holy shit! These people are here because of Terri and me and NO ONE else! WE did this.” And it was overwhelming.

I mean, LOOK at this! This is a PRODUCTION! Of course it hit me here…

Don’t get me wrong, the moment passed pretty quickly – within 30 seconds I came back to myself and we got on with the business of making the show but seriously, Guys, it’s been surreal. Well actually surreal and not at all surreal. And here’s the thing, you know how you have those moments where you have two contrasting experiences at the exact same time and you’re not really sure how both can exist at once but they do and you go with it? Well, that was what it felt like to make Farm Story. It was simultaneously new, and exciting, and unbelievable while also being normal, and comfortable, right, and even…kind of mundane (in the most exciting sense of the word.) While we were in it, in the day to day-ness of it, it was just sort of ordinary. It just felt right and comfortable to crawl out of bed at the buttcrack of dawn, stroll downstairs, meet up with Alex (Director of Photography) and Tom (Sound Mixer) and go over the plan for the day. To find Julia, or Logan, or Eric (my lead actors) in hair/makeup and chat about the scene we were about to film. To swing by craft services and grab myself a banana. To basically just move through the set, and the day, as the director. It felt natural, and comfortable, and completely, totally, utterly right.

Shootin’ on the subway…

 

So, let me set the scene – If you like Farm Story on Facebook or if you follow our blog (which, if you don’t, what’s stopping you? Get on that, People!) you know that the entire shooting process started off with a day of shooting in New York City. In addition to our skeleton crew – Alex, Tom, Kelli, (Script Supervisor), Jen, (temp 1st AD), Molly (Production Coordinator), Noah, Lucy, and Will, (our three New York PA’s who, sadly, weren’t all able to make the trip. Only Noah was able to go to Virginia for the main shooting), a few friends acting as extras, and four principal actors. The shoot was an exciting and crazy day, but, in the world of filmmaking, kind of a short one.

Ok, so we’re not in motion here, so much less impressive than when we were moving, but still – the walk and talk.

Short or not, though, there is something ridiculously exciting, indescribable even, about shooting on the streets of NYC. The last time I was actually shooting on a main street in Manhattan was way back in my production assistant days on NYPD Blue and Godzilla and US Marshalls (yes, mom, everyone has heard the story about Tommy Lee Jones scolding me) and back in those PA days I promised myself that I would not set foot on another Manhattan movie set unless and until I was either in it or the director. I kept that promise to myself. On Farm Story, we filmed a scene on the subway, yup, the NYC subway system! We filmed a scene in front of Terri’s and my old apartment – a scene with two picture cars, no less! And the most exciting – we actually filmed a walk and talk scene, with two actors crossing 5th Avenue, at 40th Street, on a Saturday afternoon – we were a little clump (two actors and six crew-some walking backwards) crossing a ridiculously busy NY city street – don’t worry, Mom, we crossed with the light. But seriously, I still can’t believe we got the shot!

And then the next day, most of those folks who were on the NY shoot, piled into a 15 passenger van and a 12-year-old Subaru and drove for 7 and a half hours to arrive at our, as-yet-unseen destination – a beautiful 18th century brick farmhouse on 27 acres of land. We arrived, we had some dinner, we went to bed, and the next morning we were up with the sun to do some work.

The Staunton bookstore…

What followed from there is a blur of filming the likes of which I had never experienced before. 12 hour days at locations all around Staunton, sometimes as easy to get to as the yard of the farm house (because we were, you know, filming in the yard of the farmhouse) and sometimes requiring us to pile back into that trusty 15 pass and head the 20 miles to hit the locations in Staunton proper. Speaking of Staunton proper, while there we filmed in: a diner, and a motel, a bookstore, an office, a beautiful house (see the North Market Street gut-punch above), a downtown apartment, and an impromptu traffic jam. On the farm we filmed in three different bedrooms, two kitchens, a dining room, a library, a living room, a screened in porch, two hallways, a patio, a lawn, and backdoor steps. We filmed in the sunshine and in the rain, on a dusty dirt road and in a dried up corn field. In vehicles and out, at all hours of the day and night. And, although we averaged only 12 hours a day we managed to stay on time and on budget, and I still don’t know how we did it. Our lunches each day were delicious – good, fresh, well prepared food – but our dinners? Our dinners were sublime…

My folks’ motel room (which they were booted from while we filmed)…

And now I come to the thing. The thing that I talk about ad nauseum, the one thing that everyone who knows me knows about. The point I’m trying to make, the feeling I can’t fully describe, the thing that this blog post is really about: Family is important to me. It’s like the Most Important Thing. It’s what it’s all about. Not only the family you’re born into, but also the one you choose and, if you’re lucky, the one you create. On every project I do, I try, as much as possible, to bring family members I’m actually related to along for the ride but whether the blood family is able to join in or not, I always always always look to build a family on each show. It’s one of the reasons I use the same people over and over. It is, in fact, the reason I do this crazy theater/film thing. It’s why I started a company — so that I could have this whole little family whenever I work on a project. It’s what it’s all about. AND, when Te and I first talked about Farm Story, we talked about building a family that would create this show. A group of people—a cast and crew—who would work together and live together and eat and drink together. We wanted our meals to be family meals – to the extent that Terri and I both wanted the dinners to be prepared by our parents and local “friends of the production”. We wanted home cooked meals. Yes, we wanted it to be, as Tom said, “a professional thing we’re doing here,” but we also wanted the group to bond as family.

Shooting on the farm…

And you know what? It totally worked. All of it. The filming, the living, the eating and drinking together. The parents making a few dinners and the local friends making the rest. The late night storytelling, the early morning coffee dash. The massive breakfast prepared by cast, crew, mom, and dad on the day we didn’t start until 2pm, the scary-clown-movie nights that found everyone watching, shouting at the screen, the birthday party on set at 1AM. And the meals – while we were in Virginia, at the end of every shooting day, we gathered on the screened-in porch of the main house and we ate together. We got to know each other, we processed the day, we played cards, we razzed on the PA’s. We laughed, we cried, we worked, and we even got a chance to play a little, but most of all, we became a family.

Hopefully that family will continue. Like I said above, now comes the hard work of editing and getting the show out there so you can all see what we did. Now comes the hard work of selling the show so that we can do this all again with these wonderful people (most of whom I. Did. Not. Know. A year ago!) Now comes the hard work of making a living at day jobs because Terri and I both put that whole “I need money to live” thing aside while we did Farm Story (thank you John and Rob for that).

So the next step is to get it out there and the first step towards that is Austin. Again, as you may have seen on Facebook, the Farm Story script got accepted to the second round at The Austin Film Festival, entitling Terri and me to participate in special panels and workshops. And we’ve put together a trailer on the off chance that the acquisitions person from AMC or Netflix says, “oh, I LOVED your script. Do you have a trailer of what you’ve made?” So, tomorrow afternoon Terri and I are off to Austin. We’ll attend our first film festival. We’ll network and shmooze. We’ll hopefully set up some meetings and hopefully move the project forward. But whether something major happens there or not, we will now focus all of our energy on finding a way to get cameras rolling on episode two. And, until the day comes when cameras do roll again, I will hold in my memory twelve glorious days and nights in the Shenandoah Mountains and…

The hot cramped rooms, particularly the Brooklyn bake

The screened in porch…site of many a meal AND many of the pivotal scenes from the show.

Hearing walkie talkie “chatter” on my set thanks to the Zello app

Bonding with my tribe

Homemade biscuits and gravy

A chinese fire drill

A soy field at dawn

Red elfin ears

Giant G-men

An unplugged phone ringing

Wagon Wheel on the radio

A downright freaky doll

Mountain mist in the morning

Dinners on the porch

A broken down Subaru 2 hours from our destination

A misty morning on the farm…

Tiny rooms with too many people

Fuckin’ Sandwich

“Terri, you gotta hold my movie”

Star-filled nights with too much wine

and long busy days with not enough sleep

And I will forever be humbled by and never fully able to express what it means to me that friends and family far and wide (and a few strangers) ponied up forty-five thousand dollars so we could make this show; that local crew jumped on board for very little money and absolutely no glamour; that actors, both local and not, found their way to Staunton (by car and train) to sleep on a rented bed and do their work, sometimes for as little as a few hours; that Terri’s parents and my parents each traveled more than 500 miles to stay respectively in a guest room and a two star hotel room (that they got kicked out of for a day of filming), AND to cook a few dinners for 30 people; that sisters and nieces and nephews gamely participated in this insanity; and, last but not least, that Tom, Alex, Molly, Noah, Julia, Logan, Eric, and Sulekha all got in the motherfucking van not for the promise of riches or luxury or fame; they got in the van with virtual strangers, for a 7 hour drive because they trusted this script and they trusted my ability to get this done; because they trusted me, a person they didn’t know well (and in some cases didn’t know at all). They all enthusiastically just said, “yup, I’m in!” They became a family and they forever changed my life in the process. Thanks, guys. You’re the best!

Some of the cast and crew and Farm Story Family  in the “Warden’s Office” set on our last day of filming.

 

Reach Beyond the Reachable…

As many of you know, I recently moved from one part of Brooklyn to another. Finally, with Within Arm’s Reach done for now, and with The Jane Games entering the editing phase, (and so taking less of my time), I’ve begun to unpack. And, as part of that unpacking, my ridiculously supportive (and super patient) husband requested that I sort through the 5 bankers boxes worth of memorabilia that I have moved from place to place over the past 10 years (in all fairness the 5 boxes started as 1 very small shoebox) and get rid of that which I “can’t remember the origin or emotional significance of.” Turns out, there was a lot to discard…but it also turns out sometimes being a packrat pays off. Especially when the stuff is from before the days of regular email, Facebook, and smartphones recording immediate photographs of every event. So, yes, I discarded a lot (like, 4 bankers boxes worth) but I also found some beautiful treasures, one that I want to share…

Some of you know of my Uncle Johnny, the artist who inspired me as an artist but also the inspiration for the name Going to Tahiti Productions (you can read that story here), and some of you actually knew him when he was still alive. He was a pretty cool guy — though not a talkative one (like me, he didn’t really enjoy talking on the phone, though, on occasion when we got to talking about a movie or book that we liked (or hated) the conversation would be animated and would go long into the night) — but letter writing was pretty much how we communicated. I would periodically send him a long letter about what I was up to and he would send me a card or a book or a note back to check in. But, whatever the letters or cards or notes or books contained, he always had some words of wisdom from an older artist to a younger. It didn’t matter that his medium was paint and mine was actors. It didn’t matter that he wasn’t making money with his art either, and that he knew that struggle wasn’t easy. It didn’t matter that he was 3000 miles away and we, East Coast Family, rarely got to see him. There were always encouraging words…we were always going to Tahiti.

So, while going through the memorabilia boxes, I came across this note card from Uncle Johnny. It doesn’t have a date and the envelope with a postmark is long since gone (even in my packrat ways, I did find a way to throw out envelopes from people who’s addresses I already had), but I think it’s from the mid-late 90′s. The note starts off, in response to a letter I sent him, “I…hope you are working 20 hrs/day and living off of adrenaline, intuition, and the euphoria that is show business/production.” And continues, “yes; bizarre, surreal, weird, monsters, religion, love: It must be Art.” Judging from that, I think I (and he in his response) was referring to the first movie I was a PA on in the city (ah, my days as a Production Assistant…another story all together). So that would put it in early ’96, after Atlanta but before I was officially living in the city. But, I digress…

I must have been philosophizing in my letter to him, because he goes on: “I also see that you have turned your predicament into philosophy (more Art, I’m so proud of you). Getting paid is the next evolution – no pay, some pay, now and then pay, low pay, little pay, more pay, steady pay…” The man knew of what he spoke. And then, this:

“Give the best you have, always keep learning, grow with each project, hang tough, Dream, reach beyond the reachable, be true to yourself – good things will happen.”

So, GTTP is following Uncle Johnny’s advice. After Molly’s current directing gig, I, Salome, she’ll be jumping in to Tahiti’s next show – a beyond words theater piece that is, right now, just beginning to take shape. And me? I’m jumping in full force to Farm Story, GTTP’s first foray into television. Regular updates are happening, well, regularly, here – primarily from writer and co-producer, Terri Viani (and occasionally from me), but basically, what you need to know is: our production calendar is set, crew interviews start tomorrow, fundraising is about to begin in earnest, auditions will start in late June, and, if all goes according to plan, cameras will roll on September 6th! It’s big…who am I kidding, it’s HUGE! It’s overwhelming. It’s scary. It’s new. It’s crazy. It’s television. It’s what I’ve been dreaming about. It’s utterly terrifying. BUT, I’m jumping off the cliff. I’m taking Uncle Johnny’s advice – I’m giving the best I have, learning and growing with each project, hanging tough, dreaming, reaching beyond the reachable, being true to myself…Get ready, folks, because here come the good things – Uncle Johnny said so. :)

 

Perseverance (The Importance Of)

Disclaimer: I couldn’t come up with a good picture that really went along with this post. Sorry, just a whole lotta words and heads up, a couple of them are naughty…

Except for the occasional theater review, you may have noticed GTTP has been a little bit absent from the Blogosphere. (I’m sure you’ve all been breathlessly waiting for an explanation of where Jessica and GTTP has been). Well, lucky you, I feel like it is time to explain my absence. My other blog post today is all shiny happy with very exciting updates and, if you’d like to read that go ahead and skip this post entirely and see the shiny happy post here (ah the joys of simultaneous posting). But for those of you brave enough to embrace the darkness (heh. How ominous does that sound?), here’s the deal.

As you know from previous posting, last year was a bit of a crazy year (in a good way). GTTP (and in this instance the GTTP I’m referring to is yours truly) was up to its ears in productions. Starting with my directing gig at The Secret Theater, I went directly from directing The Day Job by Julia Blauvelt, into co-producing Cat Lady Without A Cat by Carrie Keskinen and then into directing and producing Jane Austen’s Persuasion by Laura Bultman, and right into directing and producing In The Ebb by Camilla Ammirati at the NY International Fringe Festival. Let me just say, that for as crazy as the schedule was, there is nothing quite as awesome as going from gig to gig to gig. It gives meaning to your life (or, in this case, my life) and it’s wonderful to know that you’re devoting all of your time and energy to the one thing that you know – completely know down in your boney bone bones – you were put on this earth to do. So that? Was awesome! …end of post.

Heh. Ok, not end of post. There was a downside. And here it is, gentle readers. Just because I know that I was put on this earth to direct (and produce) it doesn’t mean the universe recognizes it. And there was this tricky little thing with going from gig to gig to gig…and it’s that same tricky little thing that plagues all of us “starving” artists. That’s right, folks. Say it with me. Money. In that, there is none. No that’s not true. I have the most AMAZING supporters, which is to say all of you. I am WELL aware and INCREDIBLY appreciative of the way all of you have pitched in with money, time, encouragement and general support over the years. There’s nothing quite so wonderful as saying, “huh, how am I going to come up with x amount of money for this show?” and then checking Rockethub and seeing that x amount money has showed up from donors. It is a wonderful and amazing thing. But, unfortunately, for what I’m trying to do, it’s not enough. Don’t get me wrong, I know your hard earned cash is exactly that and you need to give what you’re comfortable giving and I’m not trying to imply that your generosity isn’t appreciated. No, on the contrary, it is EVERYTHING and it is a perfect launching off point. But, what I’ve been realizing, the longer I do this, is that we need more and we need bigger. Money and audiences, that is. In order to get to the place that I might one day make a living at this, we need to make that jump from small company surviving on individual donations into a company that makes its money through grants, or corporate sponsorship, or investors or all of the above…we need to jump.

This need was particularly noticeable last fall when I was hoping we were making that jump. I finished The Fringe Festival, completely ready for one of two things to happen, either – some variation of the pipe dream – someone of influence, someone with money, would have seen In the Ebb and decided he or she wanted to be GTTP’s patron or I’d get a directing agent who would launch me into a world of gigs for which I would get recognition and get paid a real salary and that salary would, in turn, enable me to subsidize my GTTP work or we’d get so noticed and so well reviewed that we would be instantly skyrocketed to fame and success (or at least to a budget level that would allow for a decent salary for all involved) and I’d get help in making GTTP really happen – OR – (more likely) I would go back to my 4 day jobs for 4 months, make some money, expand the ensemble, and come back in the spring for our next show, which would be a contributing factor to that jump happening, like now.

But here’s what happened…nada. No, that’s not exactly true, I did expand the company and we are now an ensemble of 28 artists and technicians and you can read about that in the other blog post (you know, the shiny happy one). But, except for that, nothing happened. No pipe dream, and no day job (there just wasn’t much work for me last fall). So I spent a few months trying to figure out what I should have done differently and what I could do differently in the future to make sure that that jump I was talking about earlier, would — no, will — happen.

Because, here’s the thing, I’m tired. I mean it. It’s exhausting to keep pushing, to keep going. It’s tiring to keep telling yourself, “no no, it WILL happen.” Leading up to Fringe, (as I have with every single production) I REALLY tried not to get my hopes up. I really tried not to let myself even imagine the pipe dream stuff. I REALLY REALLY did (and in my family when you say “really really” you can not lie). I kept telling myself, “Jessica, pipe dreams don’t happen in real life. This ain’t an episode of Smash. If you want something to happen you need to put in the work. You need to keep pushing. You need to persevere and, in the end you need to MAKE it happen. Because no one is going to give it to you. No one is going to do it for you.” I can’t tell you how many times over the past five years I’ve told myself some variation of exactly that. Seriously, it’s like a daily affirmation. Because you need to keep that pipe dream shit in check. So I stomped down on any of the, “but maybe what will happen is Steven Spielberg will be in NY and decide he wants to take in a Fringe show and he’ll see In the Ebb, and he’ll think, “wow, this show is something! This director is SOMETHING! Let me see what else she’s got!”" I stomped down HARD. At least I thought I did.

What actually happened though – Deep down, way way down deep, there was this Little Dreamer who just kept holding on to that pipe dream. Eyes screwed shut, shaking her head, knuckles white with holding on so hard, she just kept whispering, “I know all of that stuff Ms. Strong Realistic Conscious Mind. But you’re wrong, because I’ve been doing this for awhile and sooner or later, pipe dream has to happen. Sooner or later something’s going to give and the end result will be pipe dream. I know it.” It turns out that Little Dreamer is kind of an asshole, because what happened in September, and then October, and then November, when I realized that no manifestation of pipe dream was actually going to happen, I shut down and crawled into a state of hibernation. I didn’t realize it at the time, when I kept telling my friends and family, “yeah, I’m a little bit blue, but really I’m fine” that I was lying. It turns out that I wasn’t just a little bit blue, I was a little bit broken.

And it turns out I needed the last five months (WOW, I can not beLIEVE I wasted five whole months) to let that stuff work itself out. So that’s where I’ve been…that’s where GTTP has been…working stuff out. Sometimes, working stuff out looked like watching crap TV shows on my computer while playing video games on the TV. And sometimes working stuff out looked like playing on Facebook. And sometimes working stuff out looked like reading the final book of a fantasy series 20 years in the making, but whatever form of escape it looked like, it really really was working stuff out, because just within the last few weeks? I feel better. I feel eager. I feel recharged. I have to do lists and tasks and half started projects (which I rotate through daily) all over my desktop. I’m not really sure what I did to fix it, or heal or whatever, but the one thing I did do, as I sat there thinking, “Geez, Jess, you have GOT to get working again. You have to update your blog. or Work on your next project. or Get a new fundraising drive going. or SOMETHING!” The one thing I did do was listen once again to that Little Dreamer who said, “wait. Not yet. Lick your wounds. Heal. Listen to the dream again. Find the strength to keep going.” Because, she may be an asshole, and she may be melodramatic, but also? She knows of what she speaks.

Keep going on this journey. It will be worth it. Keep going on this path. There are rewards to come. Keep going. Keep going. Keep going. So I will. You wanna come too?

 

The 5 Stages of Post-Show Grief

*Yeah, I picked a House picture because I like Hugh Laurie and it has the 5 stages listed. It doesn’t really have anything to do with this post…

 

Ok, so as I believe I mentioned, I was expecting post Fringe to be double whamm-ied on the whole “my show is over, what am I doing with my life” thing. Usually I have a good 1-2 months of depression after a show but because I did Persuasion and In the Ebb back to back with no depression down time, I figured I was due for a good 2-4 months of blahs. And, guess what? I was right. So the last three months have been a bit on the tough side for me. Add to that the fact that I turned 40 during that time and yes, it’s been a rocky few months. But! There’s good news on the horizon, Fringe ended on August 26th so I am well past the 2 month mark and am pretty sure that I’m passed the worst of the doldrums. I spent this weekend feeling motivated and I have jumped into planning for what promises to be a really exciting year for GTTP. So that is good news and, in the next few weeks, you will be hearing about lots of exciting things happening on our little island.

However, during these last 3 months, I did a lot of thinking and I realized that even this post show thing follows the 5 stages of grief. Because, although thankfully, it is not the same as losing someone you care about, a show ending is its own little death. You know there will be other shows and you know you’ll have fun again, but that show, with those people, that exact experience is gone forever and will never come again…and that, ladies and gents? That’s super sad. So with that in mind, here are the five stages of grief in the post show world…

Denial – “No, the show isn’t over. It’s not gone. I’m fine. We’re all fine. The cast and crew is doing a party tonight and we’re going to get together once a week forever and it’s going to be exactly the same.”  Or, even better, “We’re going to do a revival of this exact show with this exact cast and crew and the fun is never going to end!”

Anger – “How can this be happening to me? How DARE the show has ended! Those bastards (yeah I don’t know which bastards I’m referring to) have never understood my art! Why does this always happen to me?”

Bargaining – “I’ll do anything to keep doing this show. If I promise to really appreciate it this time, it can keep going right?”

Depression – “This sucks. I’ll never do another show again…”

Acceptance – “It’s going to be ok. There will be more shows and it’s time to get started on the next one.”

What I’ve found to be particularly difficult is the depression stage. For me, the first 3 stages happen relatively  quickly (like a couple of days) and the acceptance stage happens in the blink of an eye but the depression, that’s what really gets you. Because it’s not just that you feel sad. I mean sadness is definitely a part of it, but you start to feel unmotivated and if you’re not careful, you spin into this emotional space where everything you do or consider doing seems futile. Because, you know, you ain’t curing cancer, folks. You’re just telling your little story. Don’t get me wrong, I think story telling is important. OBVIOUSLY I think story telling is important – I mean I have devoted my career to it and it is something I’m really good at so yes, I think it’s important. But, in the midst of one of these post show depressions you can’t help (at least I can’t) but think:

Hmm. So I struggle and I fight and I rehearse and I plan and I raise money and I make it happen and I do a show.

And people like it.

And then it ends.

And I’m right back where I started.

It’s kind of like the Tetris game to end all Tetris games. I mean, ok, I got the highest score I’ve ever gotten, but in the end the board will in fact fill with little pieces and the game will end and I’ll just start it again. And you can’t help but have that moment when you think, “so why even bother?” And it becomes really hard to push yourself to jump into the  next project – even if it’s something you’re excited about. Even if it’s something you’ve been wanting to do for months on end. And that’s why for me the depression is the hardest and longest stage. Of course, invariably, there comes that moment when it hits you that the reason you bother is because it does matter. It does make a difference. You affected someone (sometimes a bunch of someones) with what you did. No, you didn’t cure cancer but you entertained and you made someone think or laugh or cry or all three. And that does matter. And, if these are the skills you were blessed with then it is an affront to nature to not use them.

I still remember the first time I did In the Ebb with GTTP. It was our first show and it was the first of my post show depressions that my husband (not yet my husband at the time) witnessed firsthand and I remember saying something melodramatic and silly to him like, “why do I even bother? It’s not like I’ve done anything important.” And he said, “what are you talking about? You entertained people and moved them. You introduced them to this beautiful language, to these amazing performances and characters. You helped bring these concepts and ideas out into the world. This idea of the Never. This character of the Waterlogged Woman. You brought them to life and now, for everyone who was involved in the show and for everyone who saw it, you made these little changes in how they see the world. How can you think that’s not important?” Well, along with making me decide I wanted to marry him, my husband showed me  things from a different perspective. No, my stories are not going to save lives but I believe, for the short time we’re on this earth, what matters most is how we affect other people and whether the cast, crew, and audience are big or small, all those people are affected by what we do. Recognizing that is what usually pulls me out of these post show slumps. Of course, it can’t be forced. You can know it in your head but if it takes a month (or four if it’s post back to back shows) to know it in your heart than that’s what it takes. All you can do is all you can ever do – hang in there and take the ride where it takes you.

Ten things I learned doing The NY International Fringe Festival…

Ok, so I have owed my trusty readers (hi, Mom!) a post for about a month now. I do apologize for being so absent from the blogosphere but it turns out Fringe took a lot more out of me then expected and when the past few Mondays rolled around I just didn’t have it in me to compose something witty and exciting for a post and so I didn’t … I actually did start 4 different posts and if I could figure out a way to back date them I would totally post them but since I can’t I’ll just say they started like this:

POST 1 (that didn’t get posted) – so, we’re about to open In the Ebb at HERE Mainstage and I can’t wait for you all to see it.

POST 2 (that didn’t get posted) – so, we just opened In the Ebb at HERE Mainstage and I think you guys will love it!

POST 3 (that didn’t get posted) – so, the reviewer from nytheatre.com didn’t get it. Though he thought In the Ebb was beautifully written, Camilla “has a poetic soul” and I have “a true talent for staging”, he thought the show was boring and he didn’t find the themes universal or connectable (yes, I made up that word but that’s the gist of the review – fear of loss apparently isn’t a universal theme – oops, I guess that makes the worrier in me a bit of a freak). ANYway, I would have said in the post (had I gotten around to posting it) that I would be worried that the review would have kept folks away, but I can now say in hindsight that we had decent audiences (not Jane Austen’s Persuasion sized audiences but decent all the same) and everyone I talked to seemed to love it so, to quote Mrs. DiSalvo in Act II – “I guess we did ok.”

POST 4 (that didn’t get posted) – so, the reviewer from California Litereary Review TOTALLY got it. Now THAT’s what I call a review. I found this one much more reflective of the work we did on stage. Though there were a couple of typos in the review (Saul Steinberg instead of Stewart and Ian DeNio instead of Ien) I felt that this reviewer actually got what we were saying. He caught the beauty in the words and the performances, and he ALSO understood Camilla’s humor finding much of the play “extremely funny even as it peers into the abyss.” I do wish that the people who “got me” were the only ones who also got to review me, but again to quote Mrs. DiSalvo, “you don’t get to pick.”

which brings me to this post:

POST 5 (that WILL get posted) – So now Fringe is over. It has been such a whirlwind. Going from Persuasion directly into In the Ebb is not necessarily the way I’d recommend doing the Festival for the first time, but on the flip side, it was nice to just go from show to show instead of hanging around waiting for my next project to begin. It means I completely bypassed my “post show depression” after Persuasion. Of course that could also mean that I’m due for a double whammy on the depression front now that In the Ebb is over, but hopefully I’ll slide into something else really exciting – like adapting Within Arm’s Reach for the stage. Anywho, here’s what I learned in Fringe:

1) Before you have a cast, reading the play out loud at a very slow speed is NOT going to give you an accurate representation of how long the play will run in performance.

- Fringe requires you to give a running time in your application, and though you still have time to change that after you get accepted to the festival, the date when you do have to give them a hard – set-in-stone – run time will most likely be at least a month before you’ve cast the show, let alone done a first run through and have an accurate sense of the run time. I had originally thought the run time of the two one acts (one fewer act than the first time I did this show) would be 75 minutes INCLUDING a 10 minute intermission. I discovered 2 days before my tech that we were running about 95 minutes WITHOUT an intermission. That was a weekend of frantic cuts trying not to cut scenes but still lose 20 minutes from the show. One day, I vow that I will do this show in its entirety.

2) A certified Flameproofer is your best friend!

- Fringe requires that all set pieces be certified flameproof. Although my set was stuff that was most likely already flameproofed (Ikea chairs and rehearsal cubes) I needed proof and that means tags from purchase (which ain’t an option since I purchased the chairs years ago for use in the first production of In the Ebb). One option was to cart the stuff out to New Jersey and have the Fringe-recommended vendor test the stuff and if it wasn’t fireproof then I could leave it there for 3 DAYS – yup DAYS – and then head back out there and pick it up. Then I found someone who was Manhattan-based and let me tell you – finding someone who can come to you and flameproof your set and give you a certificate proving that it’s flameproofed is a whole helluva lot better than having to cart your entire set out to Jersey.

3) Get yourself some good, talented, reliable friends.

- Throughout the years I have connected with some people who I can’t imagine stumbling through life without. Sarah and Ian, for example, not only said I could borrow one of their DINING ROOM chairs for a WHOLE MONTH, they didn’t bat an eye when I said I would have to chemically treat the chair so that it was officially flame proofed. When I asked if I could rent his rehearsal cubes for 3 weeks, Richard was all “why don’t you just borrow them” and, Jen, once again, offered up the Chevy Blazer to be used and abused for whatever I needed, which it turned out was a lot of set, prop and costume transportation.

4) Work with talented people you trust and love – again and again and again.

- My crazy talented sound designer, Ien DeNio, crazy talented lighting designer, Sam Gordon, crazy talented projections designer, Zeljka Blaksic, and crazy talented company manager, Carrie Keskinen, all re-upped with GTTP and I literally could NOT have done this show without them. Their talent, skill, and professionalism made this show work! And their ability to roll with the punches (see Number 6) meant that we were able to function within the stressful time-compressed world of Fringe.

5) Make sure you cast riDONKulously capable and talented actors who work well together!

- I’ve known for awhile that I’m pretty good at casting. I can usually see in an audition what an actor will be capable of and I usually have a sense of whether a group of actors will work together well. It’s a wonderful thing, a real honor, to get the opportunity to bring together 7 strangers and watch them, through rehearsals, turn into a family. This most recent family included: Crawford M. Collins, Leah Gabriel, Mary Goggin, Michael Komala, Stewart Steinberg, Montgomery Sutton, and Lisa Crosby Wipperling.

6) Hook up with a group that is calm under pressure and be ready to figure out technical aspects on the fly…

- So, for those of you who don’t know, the way Fringe works (in fact the way most theater festivals work) is that you are really assigned only one chance to be in the venue before your show opens and that chance is your tech rehearsal. In the case of Fringe, your tech rehearsal is only 2 times the length of your running time (see point #1 in this list and the importance of determining that run time well in advance of rehearsals) and you must must must run through the entire show without stop so that the Fringe folks can time you (with a stopwatch) and know for certain that you’ll fit in your allotted time. Since tech for a normal show is usually at least 3 days and often as long as a week (it’s called Tech WEEK for a reason, folks) having only 2 and a half hours in the venue to tech your show can make for a tricky situation. Add to that the complication that, because of Fringe scheduling, our tech day was actually a full week before our first performance, there was a high amount of stress on that particular 2.5 hours. What’s more, because we were the first group to tech in the space, we spent what should have been our hour and 15 minutes that was set aside for a cue to cue (where we actually go through the entire play just looking at and listening to each lighting, sound and projection cue) figuring out why the projector wasn’t working and how lights in the theater (whose layout we were supposed to be given in advance but weren’t) were going to run our lighting design. SO, having the cast and crew that I had – a group of people who just went with the flow and didn’t pull any diva crap (though it was well within their rights to do so) and just buckled down and did the job – what’s that Friday Night Lights phrase – “git ‘er done” – well this group GOT ‘ER DONE!

7) Get assigned the prettiest venue at the festival and luck out on the awesomest, chillest, terrific-est venue director on the planet.

- So, as a Fringe show, you get no say in the venue you’re assigned. Basically, the festival organizers have to figure out how to get 187 shows into 19 different venues for at least 5 performances each in a 16 day span. Each venue has to be technically capable of sustaining each show (does a show have projections, does it need fly space to drop set pieces in and out, does it need a proscenium arch, etc.) They also have to account for scheduling issues (for example, is the production company coming from Japan and not arriving in the states until 4 days after the festival has started). It’s a lot to juggle, so basically what you get is what you get and you make due. Well, somehow, I lucked into the most beautiful venue. HERE Arts Mainstage is a theater that if I were just renting, I honestly couldn’t afford for years to come. It’s a 99 seat house with a stage so big that an actor actually has to cross it (like take several steps) when moving from stage left to stage right, instead of just turning around. And the lighting grid allows for different areas of the stage to be lit while other areas are in darkness – giving actual areas of playing space instead of having the whole stage lit by default because the stage is so big that once you turn on a light you see everything. And then, as if the performance venue weren’t enough of a gift from the Fringe Gods, we were lucky enough to get assigned a venue director (a liason (supplied by Fringe) between the production company (in this case, GTTP) and the theater) who was amazing, supportive and super chill. I can not say enough good things about Christian De Gre, Artistic Director of Mind the Art Entertainment, who, while being such a terrific venue director was also overseeing his own production at the festival. The only bad thing about working with Christian, was that the nature of Fringe meant I didn’t get any time to just sit and chat with the guy – a problem I hope to remedy soon.

8) 15 minutes is a both a lot longer and a lot shorter than you think it is.

- So, because there are 187 shows in 19 venues in 16 days, on any given day, you are never the only show performing in your venue. What that means is that there is often as little as 30 minutes in between shows. Because 15 minutes before any given show has to be spent getting audience in and sitting down and 15 minutes after any show has to be spent getting audience out, as a production company you only have 15 minutes to bring everything you need into the space before and clear everything out after. We were lucky in that our set pieces (my trusty ikea chairs and our 3 rehearsal cubes) were being shared with other shows in the venue so we were able to leave them in the space, but all of our props, costumes and, you know, 7 actors, had to get in and set up in the 15 minutes before and taken down, stored and out in the 15 minutes after. I did purposefully keep the set as minimal as possible, but that first time, in tech, when we literally had a stopwatch on us, the chaos of setting everything up and taking everything down was nervewracking…then again, it turns out that even that first time when no-one knew what they were doing (“someone grab that chair and stow it”, “who grabbed the ice tea”, “where did the nun’s veil go? Do you have it?”) we were done and out the door in 6 minutes, so we got really good at running that load-in and load-out like clockwork. Again, it helped that I had the cast and crew that I did (see points 4 and 5 above).

9) Simplify more than you think is possible and then simplify some more.

- So, as I mentioned above, we only had the 15 minutes to get in and out and our tech rehearsal was…not as thorough as I would have liked, and…the script was longer than I realized. In the end we cut a lot – from lines in the script, to number of props, to complexity of set design, to lighting, sound and projection cues. And just when I thought, “I can’t possibly cut more, I can’t possibly make it more minimal,” I went through a whole other round of cuts and, to be honest, it was still an amazing, wonderful, vivid show. I always go back to that first time I saw Patrick Stewart do A Christmas Carol on Broadway – one guy, a chair, a table, a stool and a podium – he created a world that we as the audience got to live in for a couple of hours. It really is true that if the writing is there and the performances are there, you really don’t need anything else. This world ofIn the Ebb, was vivid and alive even without matching chairs and that one additional sound cue or lighting change. The audience still got it (well, except for that one reviewer but you can’t win ‘em all, right?) and it was still a captivating – Tahiti – Production.

10) When you’re at your most certain that everything will fall to s**t, it somehow all works out.

- My favorite, favorite, favorite quote about theater comes from the movie Shakespeare in Love. The exchange goes like this:

Henslowe: Allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.

Fennyman: So what do we do?

Henslowe: Nothing. Strangely enough, it all turns out well.

Fennyman: How?

Henslowe: I don’t know. It’s a mystery.

If I have learned one thing in my years in professionial theater it is the truth of that exchange. It’s not that you don’t do the work and it’s not that you don’t plan and prepare and rehearse, but in the end you have to trust in the magic of theater because how imminent disaster turns into live performance is truly a mystery but, no kidding? 99 times out of 100 it really does…and on that hundredth time? Well that’s what you plan and prepare and rehearse for – Anyone can have an off day.

Oh, and along those lines I also want to quote one more movie for point number 10.5. This one from Galazy Quest – “Never give up. Never surrender.” In other words, in this case, I mean:

10.5) Perserverence is everything.

- There are so many times in this business when it would be so easy to just say, “that’s it, I’m outta here.” It’s a tough business, which so far, has not paid any bills for me (and thank you to the people in my life who support me in all different ways (emotionally, spiritually, physically and monetarily) and allow me to continue doing it – I literally couldn’t do it without you), and so often it would just be easier to throw up your hands and walk, but I swear, it’s worth it. You struggle, and you strive and sometimes you fail but sometimes you succeed and every once in awhile, someone comes up to you and says, “are you involved in this production? Well, I just want to tell you, that was WONDERFUL! I was so moved.” Or you’re sitting in the audience watching a show you created and an audience member who you don’t know, who is not connected to you in any way shape or form, who walked in off the street, and spent his hard-earned money to see your show, he starts to applaud and gets to his feet to give you a standing ovation! And in that moment you want to cry because all is right with the world, because your life makes sense and what you’ve been put on this earth for is absolutely 100% crystal clear…of course sometimes they don’t clap at all, sometimes they come up to you and say, “I didn’t get it” – you want to cry then too but for a whole different reason. But no kidding, if you stick with it, you’ll get used to walking away from the latter and you’ll be able to fully appreciate the former. I say this a lot but – no kidding – never give up. never surrender…it’s worth it in the end.

 

IN THE EBB at FringeNYC

In 2008 Going to Tahiti Productions launched wtih a production of In the Ebb, a play of three one acts based on short stories, written and adapted for the stage, by my little sister, Camilla. The production ran for 3 weeks and put GTTP on the map. Four years, four theaters and six productions later, we decided to re-visit a shorter version (2 one-acts instead of 3) of In the Ebb and we applied for the 2012 NY International Fringe Festival. As readers of this blog already know, that application was successful and we were accepted into this prestigious festival…

Of course, what I didn’t realize when we applied for FringeNYC (and I’m not sure why I didn’t realize this because it’s not like I’ve never had a busy schedule before) was that I would go directly from directing and producing Jane Austen’s Persuasion right into casting, directing and producing In the Ebb. So, my dear readers, the last few weeks have been…uh…hectic, yes, hectic would be the right word. Also, as if that wasn’t hectic enough, sandwiched in between the close of Persuasion and the start of rehearsals for In the Ebb was my family’s yearly, week-long trip to Cape Cod.

And though this was a mostly relaxing time which enabled me to catch my breath, and though it was wonderful and amazing to be staying in a house on a bluff overlooking Nantucket Sound, with the ocean breezes a blowing, and though I got the chance to bond with my niece and nephews, sisters, brothers-in-law, parents, cousins, aunts, uncles and friends, though I enjoyed the clam chowder from The Chatham Squire, Aunt Irene’s homemade pizza and meatballs, and my once-a-year indulgence of all the Oreo’s I can eat…I worked both more and less than I should have and had several days of not doing my blog posts or marketing stuff and also several days of working on rehearsal schedules and prep for In the Ebb not even looking up from my computer, despite the utter adorableness of this face: 

 

 

However, I’m back from the Cape and knee deep in the show. We’ve actually just completed our first week of rehearsals and have blocked all of Act II – the one-act, St. James in the Field of Stars. Tomorrow we delve into Act I – the one-act, The Ebb (yes, I know, we’re doing things a little backwards this time around, it’s kinda fun). I am blessed with a wonderful cast and an amazing crew and I’m absolutely thrilled with what we’ve got so far. And, as always, I’m LOVING the process.

You know, despite having never planned to be a producer, I’ve come to really love the producing parts of my theater work but it still doesn’t hold a candle to my feelings for directing. The directing, that’s where I live. There is something truly amazing about waking up in the morning and heading out to a job that is rewarding, fun, interesting, challenging, entertaining, amazing and, well, just doesn’t feel at all like work. Now, if I can only find a way to make it pay my bills too I’d be a truly happy…that being said, the first step to that whole paying the bills thing, is making sure people turn up to see the show. And, the first step to making sure people turn up to see the show, is making sure they (that’s y’all by the way) know all the details like when the show is, where the show is and how to buy tickets. So, please see below for details and join us in August for In the Ebb

Performance dates:

Tuesday, August 14th @ 2pm

Wednesday, August 15th @ 9pm

Friday, August 17th @ 7pm

Saturday, August 25th @ 4:30pm

Sunday, August 26th @ 12pm

Performance location:

HERE Mainstage

145 Sixth Avenue, NY, NY

Enter on Dominick Street
(6th Avenue and Varick)

Tickets are $15 in advance or $18 at the door and are on sale now at www.fringenyc.org, on our very own Shows & Events Page, and by clicking the specific performance dates above!

 

All good things must come to an end…for now…

Clockwise from left, Shanae Brown, Costa Nicholas, Brad Thomason, Patrick Daniel Smith, Laura Bultman, Dina Ann Comolli, Ashley Wickett, Jenny Strassburg, Katharine McLeod, Jessica Ammirati, and Mark Montague

So, sadly, the bamboo fans have been folded up, the Empire waist dresses have been hung, the cravats untied…Jane Austen’s Persuasion is over for now. We had an amazing 14 performance, two week run, at The Secret Theatre!

We had an important first on this production – our first Sold Out Show – and on a holiday no less! I’ve already talked here about the amazing cast and crew that was a part of Persuasion and, amazing they were and continue to be. But now I’d like to take a moment to thank all of you – everone who came out to see the show – some of you twice! And all of you who support what we do. I’ve had a few people tell me how much they like our work at GTTP and I wanted to say that we couldn’t keep doing what we do here without the support of all of you out there. Thank you for coming out to our events, thank you for your donations, thank you for your kind words and THANK YOU for being a part of the GTTP family!

To be honest, I’m not sure where Jane Austen’s Persuasion will go from here. I’m hoping this isn’t the last you’ll see of this group, this show, this particular production…but whether we re-mount the show in a couple of months or years, or we let it go into that ether into which closed shows drift, you’ll definitely be seeing GTTP again sooner rather than later…in fact, if you’re around in August, come check us out at the NY International Fringe Festival. Keep an eye out for details on In the Ebb which will be posted soon.

If you haven’t had a chance, while there’s still time, please go to the NY Innovative Theatre Awards website and cast your vote for our show. Thank you again for being persuaded to hang with us here at GTTP for the last two weeks. We hope to see you in August!

getting unFRAMED…

So, as I believe I’ve mentioned before, thanks to TRU, I have been interning for Broadway Producer, Jane Dubin. Jane is one of the producers on current hit play, PETER AND THE STARCATCHER. And let me just say, if you haven’t seen this 9-Tony-Award-Nominated play, you should get out there and see it – it’s MAGICAL!!! Anyway, in addition to being a producer on PatSC, Jane is also the Executive Producer of the powerful one-man-show, unFRAMED – A Man In Progress, about poet, painter and playwright Iyaba Ibo Mandingo.

unFRAMED is Jane’s show that I have been helping out on and it is has been amazing to be a part of the experience. “So, what’s the show about?” you ask. I’ll let the website tell you:

“Meet Iyaba Ibo Mandingo, formerly Kenny Athel George DeCruise – painter, poet, husband, father, son, and undocumented immigrant from Antigua.  At the age of eleven, Iyaba is plucked from the tropical comfort of his boyhood and taken to life in America where he must navigate his way to manhood without the guidance of a father.  Using canvas, paint, poetry, prose and song, Iyaba tells us a story of his transformation from “Mommy Me No Wanna Go Merrica”- a prophetic piece that hints at the many trials he will face in a new land – to his powerful political poetry that would lead to his arrest and attempted deportation in post 9/11 America.  Throughout the play Iyaba shares his rage, his determination, and his hope while he paints his self portrait and successfully struggles to redefine his humanity, rediscover his smile, and truly accept himself for the first time.”

In the last few years, I’ve become a real fan of solo performances. As I’m sure you’re aware, what I love most about theater are the possibilities the medium allows for. With words and movement and not much else, a theater artist can create whatever he or she wants on stage. And, in some ways I feel that solo perfomances are theater in its purest form. You can’t get much more pure than one person on a stage, just telling a story. During the course of unFRAMED, Iyaba doesn’t just tell a powerful story that draws you in, he paints a picture for you…I mean he literally paints a picture – a self portrait – right before your eyes. Watching the play is like getting a glimpse into the creative process at the same time you get to just sit back and listen to a riveting story. It’s an incredible experience and one I highly recommend partaking in. And, thanks to unFRAMED‘s place in the soloNOVA Festival running 6/4-6/16 you have 5 chances to see it. unFRAMED will have performances on June 4th, 9th, 10th, 13th and 16th – though I know no one reading this blog will be able to make the last performance as you will all be at GTTP’s Gala Event – An Evening with Jane Austen. Luckily there are still 4 other opportunities to see unFRAMED. For tickets go to www.unframedtheplay.com.

I’ll be back in a couple of days with an update on Jane Austen’s Persuasion. We have a cast, who I’d like you all to meet, and we will be starting rehearsals today! Actually in about 2.5 hours. Gala tickets are still available at the early bird rate.

Get your tix now!

 

 

 

 

An Exciting Announcement…

Ok, so I’m going to take a short break from Persuasion news to make an exciting announcement but first I wanted to remind everyone that the early bird discount for tickets to our gala will be in effect for TWO more days. Get your tickets here.

So, on to the exciting announcement: This has been in the works for awhile now but I can FINALLY announce our next mainstage show. So, first we have Jane Austen’s Persuasion which will run in late June (hey, did I mention there’s a gala too? Tickets are available here) and then we’ve got In The Ebb, our Fringe show (read about that here).

Then, our next mainstage production will be (I feel like there should be a drumroll here so imagine that’s happening) an original adaptation of the novel Within Arm’s Reach by Ann Napolitano.

From Ms. Napolitano’s website: “Within Arm’s Reach charts the emotional life of three generations of an Irish Catholic family. Shaken reluctantly into self-examination by the unexpected pregnancy of its youngest member, the McLaughlin family is forced to confront ghosts of both past and present, and to re-appraise its values in a world of rapid change.

Narrated through six subjective first person accounts – the pregnant Gracie, her sister Lila, their parents, their matriarchal grandmother, and a family outsider with a curious connection – the novel dissects the markedly variant responses that such supposedly similar people can have to the same events.

An honest tale of interconnected lives, Within Arm’s Reach shows us that the ‘ties that bind’ are a source of both solace and of pain – at once a curse, a lifeline, an irritant and a cure – they are ultimately unavoidable and indelible.”

It’s a gorgeous novel, beautifully written, and I highly recommend picking it up and taking a look for yourself before we get the adaptation up on its feet. (In fact, I recommend you do that now so that it won’t be quite so fresh in your mind when you see the show and you notice all those little things I needed to change while adapting it for the stage). I am THRILLED to start working on the adaptation and delve into the lives of these amazing, intriguing, flawed, relatable, lovely, fascinating characters. Also worth a read is Ann’s second novel A Good Hard Look. The adaptation of that novel would have been much more difficult though, as I don’t have the budget to put live peacocks on stage…see, now you’re totally intriqued, right? That was my intention. Get thee to Ann’s website to get clarification and to pick up some great reading material.

And, hand in hand with our Within Arm’s Reach announcement (and I do want to apologize in advance if during the next 6 months of promotion that apostrophe ends up after the ‘s’ – I’ve caught myself putting it in the wrong place several times during grant applications and I live in terror of sending something out with it in the wrong place. That, and adding an ‘e’ to Ann’s name. Another thing I live in horror of doing because right now, I’m working on a show (Jane Austen’s Persuasion (gala tickets here)) where the main character’s name is Anne with an ‘e’ so with all the stuff floating in my head I’m concerned I’ll mix up the Anne/Anns or put that apostrophe at the end of Arms – Arms’. I’m probably guaranteed to do it but writing this here will hopefully keep it from happening. And, although I’m gonna try my best not to allow it to happen, just in case, I do want to apologize in advance to Ann if it does.)

ANYWHO…hand in hand with our Within Arm’s Reach announcement I would also like to announce that Going to Tahiti Productions has been awarded its first grant! Thank you Puffin Foundation for your support of Within Arm’s Reach. PuffinFoundation is a wonderful organization that, well, they say it best themselves…from www.puffinfoundation.org: “The Puffin Foundation Ltd. has sought to open the doors of artistic expression by providing grants to artists and art organizations who are often excluded from mainstream opportunities due to their race, gender, or social philosophy. Why the Puffin? The Puffin, once endangered in the northeastern United States, was returned to its native habitats through the efforts of a concerned citizenry. Our name is a metaphor for how we perceive our mission in the arts: to join with other concerned groups and individuals to ensure that the arts not merely survive, but flourish at all levels of our society.” Within Arm’s Reach will now definitely happen because funding has been made possible by the Puffin Foundation. Thank you thank you thank you, Puffin! And can I just say, after growing up with PBS and hearing that phrase “funding has been made possible” during so many broadcasts I don’t think I can fully describe the thrill it gives me to be able to say that for one of my projects “funding has been made possible” by someone who doesn’t even know me but who read my proposal and thought, “yeah, that sounds cool. Let’s give her some money.” Seriously?!?! THANK YOU THANK YOU THANK YOU, Puffin!!!

Phew! Ok, so, yeah, that’s the news. I promised you exciting so there you have it. I’ll be back next week with the cast announcements for Jane Austen’s Persuasion. Oh, and did I mention our gala? An Evening with Jane Austen? On June 16th at 7pm at MIMA Brooklyn? No? Well you can get tickets here and for two more days the early bird ticket price is still available. Buy Tickets Now!

 

We’re on the Fringe, baby!

Ok, so all you eagle-eyed readers will have noticed that I missed last week’s post. I do apologize. A wonderful trip to a friend’s wedding in Los Angeles meant some of my regular duties fell by the wayside. That being said, there were some interesting and exciting developments during the last two weeks – if that’s what happens when I go away, maybe I should go on hiatus more often…

They say good things come to those who wait…what they don’t mention is that in addition to having the patience to wait for the good thing (whatever it may be) you also have to bust your a**. So for the last few months I’ve been putting in some serious leg work to take GTTP to the next level and it looks like that leg work is starting to pay off. Here’s what’s been happening in Tahiti…

First off, this didn’t happen in the last two weeks but I’m still so stoked about it that I figured I’d mention it again – I got to interview Melanie Jones! Check out our podcast interview with creator and performer, Melanie Jones.

Secondly, our JUNE 16th Gala Event, An Evening with Jane Austen, is starting to come together. We’ve got a commitment for appetizers from the amazing Brooklyn Restaurant . If you are a New Yorker and are unfamiliar with this Williamsburg restaurant, you are in for a treat. Every time I have eaten there the food has been exquisite. The place has a great atmosphere, terrific food, and fantastic drinks. Definitely check them out if you’re looking for a place to eat in Williamsburg, or, even better, check them out when you’re at the gala. Did I mention, you can get tickets to the Gala here.

And, we’ll be serving beer from . I know, not exactly Jane Austen fare, but they had beer back then, right? So what if it wasn’t Brooklyn Brewery beer. Their loss is our gain. Brooklyn is representing! And for those non-beer drinkers, never fear, there will also be wine.

Thirdly, today was the first day of auditions for Jane Austen’s Persuasion! The cast is starting to take shape and if all goes according to plan (keep your fingers crossed that all goes according to plan) we should have a cast announcement in next week’s blog post!

Fourthly, (is that a word), we got some awesome news from  This exciting and prestigious international theater festival has selected a version of GTTP’s very first show, In The Ebb, by Camilla Ammirati, to be a part of this year’s festival. Performances will be this summer in a theater in Manhattan – that’s right all you Manhattanites who have been saying, “I would totally go see a GTTP show but I don’t do Queens” – this AUGUST you’ll get your chance!!! More details will be posted on the website as they happen…and for more info on the NYC Fringe Festival itself, check out their page here.

AND, last but not least, I have a VERY exciting announcement regarding our fall/winter show…but you’ll have to wait to hear it for another week or so. Sorry, hate to cliffhang y’all but until the ink is dry on some paperwork, the (official) exciting announcement will have to wait. But seriously, guys, it’s awesome! You’ll definitely want to check back for deets soon!

…oh, and did I mention, tickets for the gala are on sale here. Also, for another week you can get them for the Early Bird reduced rate of $60 – use code GEB.

GalaTicketsGalaTicketsGalaTickets Buy gala tickets now! GalaTicketsGalaTicketsGalaTickets

 

The Hazards of the Life of A Producer…

This is a pretty good illustration of my last few weeks. This past week, in particular, was a kind of crazy week on the island of Tahiti (made crazier by my day job helping babies be born but that’s another story that you can see details of here).

I think the best illustration of the insanity is the sheer number of projects/plays I have running through my head right now (some will not have titles because I haven’t made official announcements but you’ll still get the picture):

1) Full Disclosure – as you may have seen, I wrapped up Full Disclosure this past week by sending out the last of the RocketHub rewards. Although it didn’t require me to actually keep the show in my head, it is a project that I couldn’t put to bed until last week. (Speaking of which, if you are supposed to receive a RocketHub reward and you haven’t yet, please let me know. I sent out emails to settle the rewards but I didn’t hear back from everyone who was owed something and it’s very important to me that those rewards get fulfilled.)

2) Skin Flesh Bone – Did my taxes last week so there was discussion of both Full Disclosure and Skin Flesh Bone in the settling of the year end budget. But that too is now put to bed.

3) Cat Lady Without A Cat – as you all know, I am co-producing 3 performances of Carrie Keskinen’s Cat Lady Without A Cat. Tickets available here. Join us March 9th at 8pm or March 10th at 2pm or 7pm. It’s a fun show that’s still in development so the talkbacks we have after each show will give all of you an opportunity to give your feedback on what’s working and what’s not in the show. (see – you get to be more than just the audience, you get to be a part of the development of a show!)

4) Persuasion – Although the show is a bit of a ways off, I’m currently on the hunt for a performance space. No, no, no, don’t worry. There is no rift between Tahiti and The Secret Theatre. In fact our relationship is stronger than ever (see item 5). It’s just that The Big Theatre (the site of last year’s Skin Flesh Bone) at The Secret Theatre is booked for all of June with their own exciting projects and so it looks like for Persuasion we might have to temporarily relocate. :( Bummer, BUT, I am currently asearching. I saw a great space last week (part of my crazy week) and I’m currently running the numbers to see if we can book it. I’ll keep everyone posted.

5) The Day Job by Julia Blauvelt – This is the one-act that I’m directing for The Secret Theatre’s One Act Festival – The One Act Factor, which opens mid-March. Another contribution to last week’s craziness were the two rehearsals I had with my terrific cast and the one production meeting.

6) Fringe Festival Show – As I mentioned last week, I applied for the New York Fringe Festival this year. In order to apply I needed to put together a budget and a plan for what that show would be – which meant poring over a bunch of scripts and deciding what GTTP could reasonably put together within the time frame (should we get accepted, that is). I’m psyched for what we chose but it’s been another show cluttering my head.

7) The Fall/Winter show – This one is one that I’m very excited about and VERY close to signing an agreement for, but until papers are signed I can’t reveal what it is. That being said, the budget and the begining directing/producing have already begun so that I could apply for grants.

8 ) The Gala – I know, I know, it’s not a show, but for it to be the kind of Gala I want, it’s definitely a production. So, although it runs along similar lines as Persuasion, (Jane Austen themed event and all) it does have a different slant then the play and so, requires a different set of skills entirely.

9) 3 plays for a New Play Festival – I agreed to be a reader for a new play festival. So, on top of the other stuff I was doing last week, I read and evaluated 3 plays. It’s been a bit hectic, but I did turn in my evaluations! Yay…but yeah, those shows have been circling my brain as well.

10) unFRAMED – This is a terrific one-man show by poet, playwright and artist Iyaba Ibo Mandingo, that I’m interning on. It has it’s next showing at The InterAct Theatre in Philadelphia March 30th-April 1st (actually it’s next showing is at Sing Sing Correctional Facility but I’m pretty sure that one’s not open to the public). If you happen to be in Philly the last weekend in March or if you find another opportunity to see it, I highly recommend it. Details on the show’s booking schedule can be found here.

Yeah, I think that’s it, but seriously that’s 10 different projects zipping around in my head, (as Eddie Izzard would say, “[10 shows] in one head? No one can live at that speed” and that doesn’t even begin to cover the business stuff. The business stuff is always on my mind – budgets, marketing, audience growth, five year plan, strategic planning, but this week it’s been the artistic stuff – character, set, prop, sound effects, lighting, etc – circling like crazy…Oh, and the podcast. We recorded Carrie Keskinen’s podcast on Friday. It should be posted in the next day or so. Basically, I’ve become that person. That person who responds to the simple question, “how are things?” with something resembling the following:

“Oh, great. Busy, but great. I mean just this week I was at  rehearsals, a production meeting, a theater tour, a seminar on theater business, a podcast recording, a show that I was judging for The NY Innovative Theater Awards, and 2 births (day job). Not to mention the hours I sat in front of my computer trying to get folks out to see GTTP’s next show (It’s called Cat Lady Without A Cat and tickets are available here). Oh, and I totally have to finish a grant application. And, did I mention that I’m looking for in-kind donations for my Gala? Did I tell you I’m organizing a gala?…Oh, how are you?” Really I think the person who asked me the question was just making small talk but my head is spinning and I can’t seem to just answer, “fine. How are things with you?” Really, right now the only thing I can guarantee at any given time is that of all of the tasks I set for myself at the beginning of each day there will be at least 3 major things I haven’t accomplished by the end of the day. Not the least of which is catch up on like 3 episodes of Justified. I’m missing my shows, people! That is the level of dedication I have to my art. I’m missing enjoying the art that other people have put out there for me.

Podcasts, One Act Factor, and Cat Ladies, oh my!

Wow, one week after the experiment began and I’m already late on my weekly blog post, BUT, I did post (separate from my weekly post) a couple of days ago so technically I’m ahead of the game. Exciting things a brewing in Tahiti Land!

1) You’ll see on the podcast page our January/February podcast is finally up (yes, I know, it’s a bit late, but it is still February so I’m still technically on time with it.) When you get a chance, give it a listen. In this month’s podcast, I sit down with, actor, writer, dance, choreographer, and movement coach Dana Boll, to talk about her project, Bella’s Dream and the life of an NYC artist. Also, this coming Friday, I’ll be recording our March podcast, a conversation with Carrie Keskinen about Cat Lady Without a Cat and her long career as a professional NY actor. Carrie’s podcast will hopefully be posted by March 1. To listen to our latest Podcasts, check out the podcast page or click here: 

2) One Act Factor – I just agreed to direct a One-Act called, The Day Job, in The Secret Theatre’s One-Act Festival, OneActFactor. We just started rehearsals yesterday and are looking forward to a fun (and competetive) 3 evenings of One-Acts (there are 3 different series – a total of 22 plays – over 3 performance nights. My play is a part of series B and runs in the first round on March 16th and March 24th). The performances for OneActFactor begin in Mid-March and, since it’s an ajudicated festival, we’re hoping to do well enough to make it to the semi-finals and possibly the finals! For details and tickets, check out: 

3) Cat Lady Without a Cat tickets are on sale now!!! Join us for Carrie Keskinen’s hilarious show about a “self-proclaimed cat lady cleaning house in every possible way.” Cat Lady… runs for 3 performances only at The Secret Theatre, March 9-10th. For tickets, go here.

4) GTTP has applied for the FringeNYC festival this August. For those of you unfamiliar with FringeNYC it is a month long festival in August where more than 200 plays are produced, for an average of five performances each, in 20 venues around Manhattan. Because of past scheduling issues we haven’t been able to apply in the past for this competitive and exciting fetsival, but finally, this year the timing worked out. It’s super competetive so I don’t kow if we’ll get in but as grandma always used to say, “you can’t win it if you’re not in it” (grandma was a big lottery fan) and you can’t be in it if you don’t even apply. So, dear readers, I’m calling out to all of you to put in a good word to the universe for us. We applied with a very strong project (which I don’t want to reveal here because I don’t want to jinx it) and I think we have a decent chance. Accepted productions will be notified in April/May so I’ll keep everyone posted.

See you at the theater!