iTune-mania

I just used a year old gift card to buy iTunes. And, being a child of the 70's, I bought Rick Derringer's "Rock-n-Roll Hoochie Koo" and Ted Nugent's "Stranglehold".

Bow now before your Rock-God...

Surely, and hopefully, more satiable tunes to follow.

You can't count on much

I recently hurt 2 people that are very dear to me, and I'm not sure if they'll ever forgive me. It appears that they've cut all ties to me, and I am just sick over it. All over a stupid ill-placed joke that meant nothing. It's a hard lesson learned.

Our words are powerful things. They are all we really have to call our own. They giveth and taketh away. Sometimes they are a blessing, and sometimes they can turn your true intentions 180 degrees. No flippant remarks can truly take back what has been said and done.

I'll miss my friends.

Burn, baby, burn

I will wear sunscreen from now on, whenever and wherever applicable. The film shoot left me with a wierd, gay sunburn on my arms. Still hurts a bit. I am a baby.

A little "daring" goes a long way...

I went to my third audition today at the Old Log Theater. The show is Neil Simon's Proposals, and the role I read for all three times is Kenny.

Time #1: Early May (if I remember correctly), I read for both Ray and Kenny with Tom Stolz, the director. I was fully expecting to read with another actress, but instead had Tom as my wanna-be love interest (she breaks off our engagement for Kenny's best friend). I roll with this tiny bit of interest and have fun with it. Tom says he'll be in touch either way.

Time #2: Late May, I drive out to Excelsior (25 miles one-way) to audition for both the children's show, and to read for Kenny once more . Instead of the theatre, Tom meets with me in the Prop Shed (yep, just like it sounds). This prop shed does indeed have props in it, odds and ends, particularly a giant cheesewheel (real? fake?) on one of the tables. He sets up a few chairs, has me play a song on the guitar to audition for the kids show (I sweated about my guitar playing, so I chose "Yoko Ono" by the BNL to show off my singing and musical ability), and read the part of the donkey in "The Bremen Town Musicians". We move quickly along to Kenny and Proposals, and once again he's reading Josie with me. In addition, Tom is giving me direction as we read and re-read the scenes together, which is something I just roll with. We spend about 45 minutes together all in all, and once again he says that we'll be in touch- he's strongly considering me for the role, but needs to see others as well. If something comes up in the meantime that may interfere with the run of Proposals, I'm to give him a call. Fine and dandy.

Time #3: Monday- Tom calls me to request a third audition. He wants to see me read with another actress auditioning for Josie (finally!), and says he's sorry to make me come out again in order to make up his mind. Also, I am the only actor he's considering for Kenny at this point. How can I be mad? I'm not.

Yesterday- I leave work early and meet up with Tom and the actress to read the same scenes again on stage. She's young and cute, but doesn't fill the space as well vocally, and it's apparent that this is her first exposure to material. I try to apply the direction of time #2 to time #3. The read was adequate as the man who will be playing Josie's father (an Old Log regular named Steve), Tom's brother Tim and Tom himself look on. Tom requests another character to read from the actress, and sits me down one on one. He says I have a very good read on Kenny, and his only "reluctance" is that he doesn't know who his Josie will be. Once again, he requests patience and that he will be in touch (don't panic or freak out if you don't hear from me right away!). I shake his hand and depart for the awful rush hour traffic that awaits me.

Fifteen minutes later, my cell phone rings, and I can't grab it in time. A voicemail is left which I listen to while I am stalled on Crosstown reveals that Tom wants me to call him when I get a chance. Once I arrive home, I do. He offers me the role, having made his decision 5 minutes after I left the theatre.

The Old Log Theatre is the longest currently running stage theatre in the U.S. Before the Guthrie Theatre came along in the early 60's, Old Log was the premiere theatre in the area, bringing drama and comedy. It had to resort to primarily doing farce in order to stay active, but has recenly taken on more shows with some meat to them in the last few years (the blue-hairs like to make the bus trips still). Proposals will have a 5 month run starting in September. The theatre has an agreement with the Actor's Equity Association, which means I'll be joining the actor's union!

This is something that some say is the "kiss of death", especially since it's prohibitive nature won't allow for non-union stage work (which there's alot of here). I plan to take the bull by the horns on this, pursuing my own projects as well and really taking this whole deal to my benefit.

So, not unlike Mr. Dirk the Daring, I've braved the firepits, fought the Mud Men and didn't take the "Drink Me" potion. Could I have made it to the "Dragon's Lair" of my theatrical career?

OK, that's a bit dramatic and corny. The game is the same; it's just that the court is different now.

Bjork, knife and spoon

I have had an inexplicable crush on Bjork lately. I am unfamiliar with her music, but I did see the last 15 minutes of "Dancer in the Dark" on Sunday, and so it goes. I saw the entire film last year with no ill effects. Hurm.








By the way, she's brilliant in that film. Aye, perhaps that's the rub...

ill-spent energy...

Is it just me, or do most high-profile theatre "artists" in the Twin Cities feel an unhealthy sense of entitlement? You know, the ones who keep getting in the papers, or have the interviews and what-not? I dunno, some of the best, and some of the WORST, actors I have observed are right here in our little island community.



There just seems to be alot of "talk" and little done that enhances our community. It's just unfortunate that what gets the most attention is a David Mamet play and not a fresh new movement piece.



Yes, a sense of false elitism does exist here, and it's old news. But thinking about it occasionally bugs me, when I observe directors looking more for a box office draw than a true ensemble. But really, I don't blame them: I'd want to work with people I know and trust. TRUST is HUGE.



I auditioned for someone with their own theatre group, and while it was nice to see them for the first time in a few years, the promise of "you'll hear from me either way" truly rang hollow. Of course I didn't hear jack-shit. What bugs me even more is that I found that of the handful of actors they were looking for, they only cast one from the initial audition. I mean, there were quite a few eager actors on that audition list. I can't believe they couldn't find what they were looking for from that list. Would I feel the same if I was the one out of, say, 50 actors cast? Probably not, but knowing what I know now it ticks me off. Just another contribution to the false elitism.



And, since it is a "false sense", it doesn't define me or my acting career. I just need to be more aware of with who, what and where I work and play. Lesson learned. And now a little more peace for my soul... :)