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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.

building the basement

As a playwright, I’ve been lucky to work with some incredibly smart and talented people. (The others shall go unmentioned.) Gavin Witt from Center Stage gave me tools from the future, and I couldn’t even find the handles. Lisa Rothe made the warmest, most relaxed room I’ve ever been in. Sean, Jen and Martin from Working Group teach me something every time we get in a room. Scott Mellema told me to swap scenes 24 and 25 in RUST and it made all the difference.

But the folks from Actors’ Theatre of Louisville are in a class above. I guess I knew they treated playwrights well (The Humana Festival of new plays happens there in March), but I never had actually had a chance to BE one of them. ”Basement Story”, this 12 minute monologue play I wrote, opens there next week in a weeklong run of 10-minute plays (whoops, it’s only like 8 pages long!) call The Tens. They are finalists for the Heideman award, the National 10-minute play contest.

I’ve been Skype-ing into rehearsals this past month — not nearly as weird as I thought — and working with director Sarah, dramaturg Molly, actor Sean, and various production folks, and every step of the way I feel like they are, and I use this expression with only a half-understanding of its deployment, LOVING ON IT. In the first conversation we had, Sarah asked, “What’s the worst possible production of ‘Basement Story’ look like?” Because she wanted to make sure to AVOID it.

They even constructed “tower of drawers” they built in the scene-shop for it! This is a 10 minute play, and a bureau DIED for it. Can’t wait to see it in action. I’m headed down next Friday to the ole stomping ground.