Sorry, journal fans…it’s been a wild rough week. Here’s what’s up: My performance art show, my new album, another album release and show with the band, “Geniusboy” (we got a nice article in the Alligator today), taking on the lead in the Acrosstown Theatre play, Jacob Marley’s Christmas Carol, double-scenes due for Acting for Directors, new scene for Acting II, no gas, no food, computer cord breaks (they’re like fifty freakin’ dollars for a new one, which I obviously finally got), and the daily grind of hand-to-mouth for food. Minus my apartment which I had the good sense to pay in advance through December for, I’m a street person for all practical purposes. Ain’t life grand? In Script Analysis, I’ve managed to just get in under the wire with my analysis of the character Krogstad in Ibsen’s “A Doll House”. I should be finding out about how that went tomorrow, but I think it will be another perfect paper. On Monday, we discussed Guys and Dolls. I loved that show and most everyone else did too, but we discussed whether or not these ‘legacy’ musicals allow for creative artistry or are they just exercises in execution. In other words, do we need these old musicals around? I said yes, for nostalgia and in the same way we look at old pictures, we do these shows. Otherwise, you could take that further and say to hell with Shakespeare. Right? I know, you’re saying Guys & Dolls and Shakespeare shouldn’t even be uttered in the same sentence. There is no comparison. I suppose that’s true, but who doesn’t want to go back to Grease or Rocky Horror, or Annie, or even Ain’t Misbehavin’ (the first musical I ever saw.) We’ll see. Read this for more on the topic: http://www.musicals101.com/future.htm
Here are the journals for the week:
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Acting for Directors:
10/24-29/2013
I’ve been away from the journaling for a few days because frankly, shit has hit the fan. I took the lead in the Acrosstown’s production of Jacob Marley’s Christmas Carol by Tom Mula. This thing has lots and lots of words and long monologues, and I play four characters and a narrator interchangeably, so it’s a big project to get together. Meanwhile, I have been cast for two scenes in our class and I also have a scene for Acting II, all while maintaining my show, releasing a solo album of music, performing this week with the band I play in, and doing this all with no money, a broken computer, and a car without gas. So this is acting, in case anyone was wondering. The two scenes for Acting for Directors are from Mauritius and All In The Timing respectively; fun scenes. We rehearsed Mauritius today (Tuesday the 29th) and tomorrow, we’ll be working the Trotsky bit from All In The Timing. This evening, we went over the Christmas deal. I plan to do what my Professor from Script Analysis suggested: “When the going gets tough, push harder!”
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ACTING II:
10/24-29/2013
This covers the days from the 24th through the 29th. My computer was down so I’ve been out of the journal for a couple days—picking it up here. During this time, I managed to perform the scene with my scene-partner from Venus In Fur, and though I was a bit sketchy on the lines, I think we knocked it out of the park given the short rehearsal time we had. Honestly, as busy as I was, I don’t think we rehearsed together more than two hours tops in terms of staging (not including about 20 minutes of class work-shopping.) I’d like to think this fact won’t be revealed to our Professor, but since she reads this journal as part of the grade, well…there you are. But we both loved the scene and I know we had some chemistry and the full attention of our audience. It felt pretty good, and of course, good to have it done. The next scene is Mamet, with my buddy Sam. We don’t quite have it picked out yet. If he doesn’t show up with something for tomorrow, we’re going to be in deep doo doo. Mamet’s nothing to trifle with. You can’t half-ass those words and escape on intentions. Every ‘uh…’ and ‘um…’ and double-dash and pause and breath has to be spot on or you’re not doing Mamet. It would be like saying “Should I hang out or what?” to start Hamlet’s famous soliloquy. It’s just not done. I also had to turn some things in late because of the computer issue (broken power cord, dead battery) and I’m going to take a partial credit hit which, if you know me, irritates the living hell out of me. We’ll get our grade on the Venus In Fur scene tomorrow.
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ALEXANDER TECHNIQUE:
10/25-29/2013
A computer problem (broken cord) caused me to be unable to access my journal for updates (and I just can’t stand writing by hand) so this entry covers the 25th through the 29th of October. During this time, Alexander has been a welcome friend. The stress of having taking a lead role in a play at the Acrosstown Theatre, three scenes to learn for classes, band work, personal challenges, and the like—Alexander Technique has been part of my methodology for conquering these issues. Lots of breathing, mind/body awareness, relaxation, ease, taking time for myself to make sure I don’t turn into a ‘crazy person’. We have completed the bulk of the course and are off until the middle of November. I have one appointment for a one-on-one with our Professor at 2:30pm on Halloween, of all occasions. I have no idea what to expect, but the days off are a welcome relief and hopefully in that time, I can get a handle on all the things I’ve committed to.
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Tom Miller - Are You Acting? 