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Summer o’ Theatre

This summer was a particularly fertile one for theatre in Gainesville, and proved to be a major portfolio boost.

Stage Manager

On May 24, 25, and 26, the Acrosstown Repertory Theatre hosted the new Gainesville Shaw Society‘s production of George Bernard Shaw’s Geneva. My friend Krsnaa Fitch loves Shaw’s works and asked me to be her stage manager. The particular demands of the piece—even an abridged form, as we did—included furniture and costumes appropriate to the late 1930s and an approximation of three major political leaders of the era: Adolf Hitler (fictionalized as Battler), Francisco Franco (fictionalized as Flanco), Benito Mussolini (fictionalized as Bombardone), and Neville Chamberlain (fictionalized as Sir Orpheus). We partnered with the Hippodrome Theatre again and also enlisted the talents of Gainesville costume Jason Bendure to develop the costumes. Ken Brown of the Hipp worked on our set, and under short notice.

Once again, I found myself on stage as well as managing the show. In a delightfully meta twist, I assumed the role of the Secretary to the League of Nations, who is revealed to have conned the assembled dictators and plaintiffs in the final act. Calling the shots in the plot and backstage!

The most important aspect of the Geneva experience was that it revealed my capability as a production manager (and my ability to do a Swiss-French accent), especially under a short deadline. I am an excellent stage manager, but sometimes, due to a busy calendar, it’s better for me to coordinate a production team than to record rehearsals or be on-book. And I have increasingly more professional connections to get the supplies, loans, and donations that the designers need.

As such, my initial role on the Acrosstown board as Design Manager (aka master of the Props/Costume dungeon that no one else braves) was combined with this new role, as Production Manager. I also was encouraged to take on the role of Board Secretary, since I instinctively take copious notes.

Perhaps the most important role is the development of ARTiS, which I will discuss in a post to come.

Then, I partnered with George Steven O’Brien to develop the set for A.R. Gurney’s A Perfect Party, which played June 14-30. The set, a den-turned-family-room-turned-study, as described in the set, required a specific combination of swank, comfort, disillusionment, education, and artifice. You can see photos of the work here. As the theatre’s Production Manager, I agreed to serve as Production Stage Manager, but ended up getting more than I bargained for when one of our actors had to take medical leave and your trusty stage manager, the eternal understudy, had to take the stage! Now I’m experiencing a resurgence of the acting bug, and will appear in adaptations of W.W. Jacobs’ “The Monkey’s Paw ” and Edgar Allen Poe’s “The Masque of the Red Death” as part of the ART’s Fright Night play festival.

Producer

It has long been my dream to run an agency that combines the production & distribution of documentary films and socially activist plays with the development of workshops and curricula that use audiovisual media. This idea first germinated when I was considering career options and asked myself what my ideal job was. When my keyword searches ceased to generate results, my collage mind saw the potential in such an agency, and I began developing its model and mission statement.

However, I had never produced a show or handled any business aspects of a production. As fortune would have it, Mr. O’Brien’s company, TigerMonkey Creations, needed a boost, and I had met many talented people who I believed to deserve exposure. With the help of the Alachua County Rapscallions, I organized 14 performers and 5 artists for a multimedia variety and art show, with a silent auction and raffle, to benefit TigerMonkey Creations.  Along the way, I adopted Dragon*Con’s model of providing short parody skits to entertain the audience as performers set up; to do this, I, with four other people, created SketchyYeti, an improv and sketchy comedy troupe that parodied infomercials, drug commercials, and reality shows. We also performed a couple of live skits.

The show was a relative success, although I had stretched myself too thin. The show launched SketchyYeti and gave Gainesville poet Charles Ely an opportunity to demonstrate his choreography (with yours truly). It raised about $270 for TigerMonkey Creations. I was thrilled with the outcome and realized I had successfully organized over two dozen people (including organizers and staff) to create a socially engaging multimedia event! I was a producer, and I could make the agency happen.

Costumes and Makeup

And finally, I returned to the Hippodrome for their production of Avenue Q, as wardrobe manager. Needless to say, it was an unusual experience to be dressing both puppets and humans. The show is a particularly ripe combination of satire of American society, parody of children’s edutainment, and musical delights, and was a joy to work on. The songs, however, were quite infectious.

To bring the design work full circle, I did skull makeup on the lead singer of Braineaters A-Go Go, a Misfits tribute band, for their debut performance at the 1982 Bar in Gainesville. Considering the aesthetic of Teatro de los Muertos, this seemed a good sign of things to come.