Listening to the Catalyst Radio/WYCE/The Rapidian interview I did last week about RUST. I’m always surprised by the sound of my own voice — surprised might be the nice way to put it. I think they even edited out the space between the words. To cram it all in? Either way, I sound very much INTO IT. I don’t know that I will ever master nonplussed. But Linda, the host, did a great job incorporating the original songs and even the documentary sound from “From Dawn Until Sunset”, the 1937 GM corporate film we use in the show…
Latest
just back from Louisville, having seen “Basement Story” in The 10s — the show of the finalists for the Heideman Award at Actors Theatre.
Oh but first there was the Swerving Off The Side of the Road, at mile 10 on I69, the night before. Black ice, scourge of the highway. I was just innocently tipping shrapnel from the peanut bar wrapper into my mouth when the car started to fishtail. A very long second ensued as I swerved and ended up in a ditch on the side of the road for an hour.
And I wondered: Is it okay to check Facebook while stranded, roadside, in the dark during a blizzard?
(yes)
And at what point do you call your mother and tell her?
(haven’t yet)
The following night, having had my fill at Proof and seeing my old friend Kiki and her fiancé for a drink, I swung over to the theatre. Now, the show started at 10:30 pm, isn’t quite at the 11pm Sleep No More level, but still. That’s late. However, my furnace was nicely warmed by the second Old Fashioned that accompanied me to my seat. Along with my friends Brian and Brian.
The show was really strong, with a couple of definite contenders in the mix. “Hero Dad” by Laura Jacqmin was this prismatic look at parental responsibility, an interesting triptych really, and maybe the smartest. “Advanced” by M. Thomas Cooper, about cavemen arguing in Lincoln/Douglas style, got huge laughs and was really winning. I have to remember the benefits of absurd costuming while writing.
The totally charming, perhaps-shall-I-say-it?-Beiber-banged Sean Mellot did great in “Basement” — I loved this magician-table-cloth swipe he did with the sheet over the bureau. He told me he was nervous having me in the audience, but it didn’t show. I was super happy: this is as realized as this show will ever be, probably, and I didn’t wince once at the writing (which happens).
One of the best aspects of the show was the total variety: 22 actors, no repeats, in 7 shows. Each one was a pilot episode. Crashed afterwards, even though the fresh-faced Apprentice Co. invited me to the after-party. Sean, if you’re reading this, congrats. You were as good as I could have hoped for. Now just be aware Colin might be paying a visit to your room at night…
End Of the Line
By some twist of fate I’ll never quite understand, a spanky four-page excerpt of RUST appears in The New York Times in this Sunday’s magazine. I’m sure most readers thought, WTF? A play in the pages of the Times? First time ever. But I will happily take unprecedented as an adjective.
Fingers crossed this gives the play a chance to find new audiences…
listening, II
Alex Hamel and Jared Wekenman finally uncorked one from the RUST soundtrack. “Flying” is the first track to debut from the original underscore they composed — and it’s terrific. Just the right tone and tempo. The full album is out in April 2012, but they released this snack now. These two are so incredibly talented, I wish I had the bank to keep them working all year.
listen to this
S. Carey, All We Grow.
It’s been awhile since I’ve had that distinct pleasure of discovering a new musician. Carey apparently loved Bon Iver so much, he tracked him down on tour, convinced him to hire him as a drummer, and then released this album, which is, admittedly, Ivery. But in the best way. It’s got minimalistic, Reich-ian pulse percussion, moody atmospherics that I love, and that gentle, unpressured singing style that Bon Iver uses. Can’t rave enough.