Holding pattern

Sort of. Wallace is in Atlanta this week for work related activities, so I'm left to my own devices. I did make some of the changes we talked about at our previous rehearsals, mostly stuff to streamline some of the new material. Most of the changes do make sense. And it does seem to flow better, so what more could you ask for? It is a bit confusing in running the lines to try to remember what is still here and what is gone, but it keeps me on my toes!!!

The piece is probably gonna come in around fifty minutes or so, which isn't what I'd wanted, but I can't see beefing it up just to beef it up, and at this stage of the game better to go with what we have I suppose. So unless something springs up and says 'use me or else' I think it's pretty much where it's gonna be.

Wallace copied me on an email from someone he approached about music prior to the show. It's very good bluegrassy stuff and would be a good fit. I guess Wallace thinks it's more of an evening with a bit of padding, and I can't say I blame him; if people are paying $25 bucks I guess a fifty - fifty five minute piece isn't gonna do it.

I was bemoaning my failure to make it longer . . . I had wanted an hour . . . but Bette reminded me about Beckett and some of his pieces that run less than a minute! So essentially a play will be the length it's supposed to be. This is a fun piece and I think people will enjoy it. I know they did at OMT, and I don't think any of my additions will serve to screw it up! I jest of course. I think the additions add some very good stuff: some humor, some depth. It's very satisfying from my end, and that's why we do this stuff isn't it? If it doesn't make me happy then what is the point?

I'm working on finding the trajectory of the piece. I know of course what the journey is, but I broke it down yesterday into large sections and could visualize how the arc of the play progresses. It really does take you on a journey and I have to have it in my head, rock solid, what that journey is and why I'm taking the audience on it and all those other actor questions. That's my big work this week: to get my intentions and actions down and all that other foundation work. If I'm clear on all that and have the play I have . . . we should really rock it!