New York, Day 5 (Day 244/365)

When we got downstairs, we found the Honeas getting coffee, so we parted with them then. They’re going home today. They had enjoyed Curtains, so that gave us a little hope heading into the afternoon.

Off we went to Chinatown in the cold, cold rain. After getting turned around, one never can tell which direction one is facing after emerging from the subway, particularly on a cloudy day, we began strolling up the street and checking out the trashy stores. I bought a rain hat and a surprise present for Kathy Bizarth. (No clues here, just in case anyone who would care is reading this.)

We came across one of many Pearl art stores, where I was able to replace some tubes of gouache that have dried up on me back home. They had a complete line of Moleskine notebooks, so I succumbed to the charms of a small storyboard version. As we begin getting heavy duty with William Blake’s Inn, it will be handy to record some staging ideas.

We made the turn into Little Italy and came across Ferrara, the fabulous pastry shop we had visited a couple of years ago when we chaperoned that ill-fated chorus trip. (“Ew, we don’t know what all that stuff is…”) We paused for coffee and sugar. At that point, we made our contact with Lynne Jebens, Ginny’s college roommate and an agent here in NYC. She was going to find us a nice Italian restaurant for dinner, so that sort of made our search for lunch in Little Italy redundant.

I suggested perhaps finding Le Streghe, the fabulous restaurant we ate at four years ago, but it was decided that we would go ahead to the next main goal of the day, getting Ginny’s eyebrows done at Sephora. It had been decided that the Sephora on Times Square was too crowded, so we would use the Herald Square one. Off we went on the subway to Herald Square, but it turns out that the eyebrow studio, who knew there was such a thing?, is only at the Times Square location.

And so we walked, in the cold, cold rain, up Broadway to Times Square. Great walk, if my feet weren’t soaking. When we got to Times Square, which I officially hate and avoid now, I left Ginny and Carol Lee at Sephora and went to Garvey’s the bar at the hotel, where I ordered multiple life-restoring gin & tonics and some lunch. I figured that I would lower my defenses before heading into Curtains, so that if it were even halfway funny I would laugh hysterically. Of course, if I had had multiple life-restoring gin & tonics before last night, I would have been shouting my notes at the stage.

Soon I was joined by the ladies, who had given up on the eyebrow job. We quickly got them drinks and burgers, and they finished in time for us to walk the half a block to the theatre.

Curtains was a delightful throwback, a gag-filled, tuneful, old-fashioned Broadway musical. Not a thing wrong with it, and it even had a fairly interesting mystery plot. Debra Monk is divine as the tough old producer; David Hyde Pierce is wonderful as the stage-struck detective. It was relaxing to be in the presence of competence and craft, unlike last night.

After the show, we went back to the hotel to dry out and rest. I called AirTran to double-check our reservations. Here’s a reservation code, I said. Call it up and tell me what you see. Well, she saw that we had reservations for the 3:06 flight (good) but wait, there was a notation that we were sending our old paper tickets back to the travel agent (bad). Never heard of that, I said. Oh, she said. You need to have your agent call us.

Forty minutes later, whoever my agent was this time at BB&T finally talked AirTran through their issues and assured me that they had made a note in the file that said explicitly that they would exchange our old paper tickets for new ones. I will call again in the morning to make sure.

Then we walked over a block to 44 SW, an Italian restaurant over on 9th Avenue. Lots of good restaurants over there. I had never ventured over to 9th, which is stupid. We will remember this for next time as a place to explore at dinner time.

The food was good, and Lynne is as always great. She looks good, she’s holding it together, and we had a great time catching up. At one point, she and the ladies began an earnest discussion about menopause, so I left and went to the bar.

Since Lynne lives in Jersey, she couldn’t stay too late, so we got back to the room at a human hour. It would be nice to get a decent night’s sleep on our last night here.

New York, Day 4, Part 2 (Day 243/365)

Oh. My. God.

And I don’t mean that in a good way.

After a quick bite of pizza for supper, we gathered ourselves and went to see The Pirate Queen, Schönberg and Boublil’s new show. I had not heard a great deal of excited buzz about the show, it’s still in previews, and I had heard a few negative rumors, but I liked Les Miserables, so I booked it.

I should have known better.

After an excruciatingly soggy opening sequence, which didn’t tell us anything except that Grace O’Malley wanted to be a sailor and her daddy the chieftain wouldn’t let her because she was a girl, we finally sort of got under way when she sneaked on board the ship anyway. In disguise! As a boy! And when a storm will capsize the ship unless somebody , somebody!, climbs up there! and gets! that! sail! down!, and look, the cabin boy we’ve never seen before in ultra-closeknit Clan O’Malley is brave! But it’s only Grace. Bad Grace. And then the English attack. Good thing Grace is good with a sword, huh?

::sigh::

There’s a true love, natch, but she’s married off to handsome but creepy Donal of the rival O’Flaherty clan, natch, but none of this goes anywhere. (Donal looks like a buff Legolas, an unfortunate design choice which is only reinforced in the tavern scene with curly-headed drinking partners: oh, look, they’ve got hobbits, too!) More “You’re a girl” crap. And then we meet Elizabeth I. It is a measure of this show that the English court under Elizabeth I is the comic relief.

Act II (I’m going to skip some here) opens with Grace having a baby on board her ship. The English attack, and her scum husband Donal wants to surrender. Thank goodness Tiernan, her true love, suggests otherwise, and of course Grace rouses herself from her childbed to stab an English or two. Then she sends Donal packing, under a peculiarly generous hold-harmless clause in sixteenth-century Irish marriage law.

I will spare you the rest of the show.

It is hopeless, this show. I cannot wait to read the review after it opens Thursday night.

However, if anyone knows Frank Galati, the director, or Graciela Danielle, the “musical staging” person, pass them these notes:

Cut the opening. Start with the storm. Same scenario, and that’s how we meet our star.

Give her one “Ariel” number, then don’t bring up the “You’re a girl” thing again until the inevitable song paralleling Grace and Elizabeth’s boy troubles.

After we discover, gasp, that the cabin boy is a girl, and do not mention the chieftain’s daughter before that, please, have Dad decide to send her home. But then the English attack. Then she gets to stay. Introduce the boyfriend then.

Cut to Elizabeth. Establish her as Grace’s equal in spirit. Spread the wit/venom/comedy around Ireland as well as England.

Cut back to Ireland. Just as boytoy Tiernan is about to ask for Grace’s hand, Daddy, flush with victory, announces the O’Flaherty alliance.

They’ll have to figure out how to make the Grace/Tiernan/Donal triangle work, I can’t do everything, but I do have one more critical idea for them.

Lord Bingham is a highlight of the show, but cut him. Instead of him, use Essex. If you’re going to screw with history, at least use the good parts. Essex was and could be in this show Elizabeth’s love and bête noire. Elizabeth sends her boytoy to fight Grace. He could succeed. Go ahead and imprison Grace (as happens in the show now). But blend Essex’s betrayal of Elizabeth with Tiernan’s sacrifice for Grace. Elizabeth executes Essex; Grace sails home with Tiernan. Big number for all.

The whole point of the musical was not Grace’s love story. It’s the pitting of one powerful woman against another in an age that did not trust or value either one. Love’s part of a total person’s package, sure, yada yada yada, but I would never in this day and age have your plucky heroine who has spent the entire musical whining about how cool it is to be a woman to crown her story with a lyric about not being a real woman until she listens to her heart.

So yes, as usual, I think I could do better. But not with Boublil & Schönberg. They’ve lost any talent they had for songwriting. God, that music was boring! Get me Ahrens & Flaherty on the phone. Pirate Queen is going down with the ship.

New York, Day 2 (Day 241/365)

The shower is pretty weak. But we persevere.

Ginny is off to the flea market in Hell’s Kitchen. I’m off to find coffee downstairs, see if the wireless signal is stronger in the lobby, and wait for Barbara Petzen to call.

Barb Petzen was a student of mine way back in the 1980s. She hooked up with NCTC, and I taught her both AP Art History and AP English. She was probably the most brilliant student I’ve ever had. She was State STAR Student in 1983, and I was her STAR Teacher.

She went on to Columbia, then became a Rhodes Scholar, ending up at Harvard for her doctoral studies (women in the late Ottoman Empire). She married the online editor of the Christian Science Monitor, I was her matron of honor, and now she and Tom live in Boston with their four beautiful children.

So I really haven’t seen Barb since, what, her wedding? And she hasn’t changed a bit. Still the wonderful, funny, supersmart woman that we knew and loved since high school. We caught up on her insane siblings, were saddened to hear of her mother’s death last fall (also Barbara, aka Bobbie, and a fabulous broad), and figured out exactly what it is she does. (She’s newly hired to an educational outreach position of an Islamic studies group in DC; Tom is now in charge of blogs for NPR.)

And here’s Barb:

Barb and us

We all headed off to the Museum of Modern Art. MOMA has built a new wing since we were there last, and it’s a beaut. Of course, it’s the collection that counts, and it’s like walking through your art history textbook to tour the museum.

So many beautiful works, so many glorious successive approximations. I hesitated to take photos, well, because I have all these works in books one way or the other. But there was one: “Broadway Boogie-Woogie” by Piet Mondrian. I use this painting in my information skills training for the third grade. One of the teams is challenged to answer the question, “What does the painting “Broadway Boogie-Woogie” by Piet Mondrian look like?”

And so:

Dale and the Mondrian

We sent Barb off to catch her bus back to Boston, then we walked back to the hotel, scouting restaurants along the way. We stopped for a quick restorative at Louis’ Café on 53rd, then had time for a quick rest before heading out for supper. We ended up at Thalia, a nice André’s style restaurant on 8th Avenue. Good food, great décor.

Spring Awakening was right around the corner at the O’Neill Theatre, one of those wonderful older theatres in which all the seats are great. The set is bare brick, plastered with frames and ladders and lights and photos. Very pomo.

I liked the show, a fact which is fairly bizarre, since the score is totally alternative rock. But the harmonies are very interesting, very complex, and the orchestration is unexpected, with a string quartet in addition to the guitars and basses.

I was also sucked in by the teen-angst theme, which is also unexpected. I empathized for those poor children, and yes, they’re ridiculous, but we forget at our peril that it’s not ridiculous for them.

The main thing that we all find to admire is the staging. Very stripped down, direct to audience, great use of rock concert energy and movement. This is where the disjoint between the 19th century costumes and 21st century attitudes works best for me: the gracefulness and innocence of what the children are wearing contrasted with the sexual anxieties and alternative rock sounds of today make for a compelling mise-en-scene.

Workshop, 3/27 (Day 236/365)

Forging ahead, Marc, Dale, Carol Lee, and Laura in attendance.

Carol Lee has finished two sunflowers:

Carol Lee's sunflowers

They are quite magnificent. We began to see a lot of possibilities now for choreography. Dale suggested that we keep in mind the Silly Symphony cartoons, with their simple and repetitive patterns. They’re a lot of fun to play with, and very easy to make into characters.

Dale reported on his adventures in Hedgehog Land: he worked with Sherry Lambert’s kindergarteners again on the MMH Arrives sequence, and they’re getting quite good at it. He then tested them on some ideas he had for the Marmalade Man Makes a Dance to Mend Us, where he asked them to strike hedgehog poses on the beat. Then they played follow-the-leader, taking a step and striking a pose on the beat. It worked, so we’ll actually be able to stage both MMH pieces! He also sent letters home to the parents so they could decide whether their hedgehog would be able to participate in the May 3 performance.

Then we forced ourselves to get to work on visuals for Sun & Moon Circus [SMC].

Marc continued his study of the circular bed, the Gang in pyjamas, King of Cats as ringmaster:

Marc's Tiger

That’s a magic lantern the Tiger is holding, projecting moons/stars/suns onto the circus action around them.

Carol Lee grumbled about being a three-dimensional artist (i.e., hot glue) being forced to work in a two-dimensional framework, but she approximated successively nonetheless:

Carol Lee's moon

Here she has the sunflowers listening to the Moon’s lounge act. Looking at this idea, it occurs to Dale that we can actually write in a vocal part for the Moon in the circus sequence, sort of a Cirque du Soleil descant thingie.

Carol Lee's clapping

A simple image, for creatures clapping. We probably could come up with a few more, paws and fangs, to add to the mix.

After working with paint last week, Dale went digital this week, using a program called ArtRage. It’s very gorgeous, and it comes in a free version for both Mac and that other platform, from Ambient Design. There’s also a $19.95 version that has layers, worth it if you can afford it.

Fitful, flashing light

Here the tiger is awakened by fitful, flashing light, streaming through his window. He has managed to get his paws on a bit of it.

We do not have workshop next week, April 3, because it’s spring break and Dale and Marc and Carol Lee will be in New York City. In fact, by this time next week, we will already have had lunch with Nancy Willard!

Workshop, 3/20 (Day 229/365)

Another productive evening: Marc, Dale, Carol Lee, Laura, and Melissa in attendance.

Carol Lee brought in the latest approximation of the sunflower (no picture yet). More leaves, longer stem. Very nice. Much discussion of how to dye the elastic. Later, Carol Lee had several brain attacks on how to solve the whole stem/leaves/elastic situation. She left early to put those into practice.

Laura had her approximation of the hedgehog costume. We coerced a young dancer into trying it on.

Laura's hedgehogMaggie wearing the hedgehog suit

Laura worked on improving the headpiece into a hood. The texture of the eggshell foam is perfect.

We then worked on visual images, and here are the results:

First, a visual of Marc’s periaktos on steroids:

Marc's periaktos

You’ll notice the extra flaps on every side.

If you calculate carefully, you’ll see that each unit can give us nine different settings, i.e., closed position 1, open position, closed position 2, all times three.

Dale discussed going simpler for the May 3 performance, using single panels, painted on either side, used as puppet-walls. Lots of interesting choreography possibilities with the character/puppeteers manipulating the walls in space as the MMH “bustles through all the rooms.”

For Sun & Moon Circus, we had some beautiful images.

Tiger & Rabbit in jammies

Marc continues his motif of bedtime attire.

Moon on a swing

Marc’s entrance of the Moon: a giant swing-thing, ridden by an angel.

Dale's rabbit

Dale’s rather frightening Rabbit, peering through the window and reassuring whichever character. This painting is unfinished, so perhaps Dale can cuten up the bunny a bit.

Planet Clowns

Dale has the clowns as Pierrot, silver-faced and silver-gloved, playing with the planets, while above an angel walks a tightrope. (Her umbrella is out of the frame, of course.) This clown is turning back to look at us in a bit of choreography Dale says is inspired by the orchestration of the new circus music.

Marc’s idea (from comments on the Lacuna blog) about putting the Tiger, King of Cats, etc., on a circular bed in the middle of the circus gathered steam. They would be projecting sun/moon images from their magic lantern while the circus careened around them. The Rabbit could rotate the bed as ringmaster.

Moving on the Man in the Marmalade Hat, we got a couple of Toastheads:

Marc's Toastheads

Marc’s Toastheads, bearing banners and marching forth.

Melissa's Toastheads

Melissa’s Toasthead, all starched flat and bearing a banner. It’s interesting that both Marc and Melissa have given them ties.

Dale had brought in some trash from Multec, foam of varying dimensions and densities. We considered that if we were able to get some whole pieces of the thinner foam, we might build the Toastheads’ costumes out of that: flat but flexible. Are their movements starched as well?

Next week: more painting/drawing/sketching. Let’s focus on Sun & Moon Circus, since that’s one we need a fairly complete storyboard projection.

Hedgehogs (Day 228/265)

Met with our horde of hedgehogs again today and began teaching them their portion of the Man in the Marmalade Hat choreography. Oh my. This is going to be quite hysterical. They sniffed and slid with gusto, they marched, they did their little jumping tours with complete adorability. Ms. McDonough, their music teacher, could not keep a straight face.

I’ve been thinking, too, that perhaps we could use them in Marmalade Man Makes a Dance as well. I’ll try playing Follow the Leader in the next session. If they can do it, then we just let Galen lead them.

Next step: get the letter prepared to go home to their parents.

Bonus: I played with our “successive approximation” idea.

Successive Approximation

Workshop, 3/13 (Day 222/365)

Another workshop, another meeting of brilliant minds: Dale, Marc, Carol Lee, Melissa, Laura, and Mary Frances.

We shared some homework each of us had done re: winter/spring images for the MMH’s banners.

Marc had done some nice sketches of dead leaf/new leaf, snowflake/sun that were good. He had a fun pennant with a hibernating critter on it.

Melissa had a two sided banner, to wit:

Melissa's winter bannerMelissa's spring banner

Dale cheated, just photoshopping a winter tree:Dale's winter tree

Still, the image is compelling, and we thought that maybe this kind of image might be an interesting way to proceed.

Carol Lee went for texture:

Carol's spring bannerCarol's winter banner

Hard to tell in the photos, but the one on the left is brown, the one on the right is yellow. There would be lots of movement in it. Marc had the idea of putting an image like mine or his on the dangly bits. Dale remembered the image transfer sheets that all the artists are using these days: we could transfer a photo image like the winter tree directly to fabric, then cut it into shreds.

We talked about what to make the banners out of. Dale pointed out that if we made them out of muslin and painted them, it would be cheaper, we’d get the colors we wanted, and they’d be stiff as if starched (our other motif in MMH.)

Laura had run out of time to work on the hedgehog approximation. She left it at home, but will bring it next week.

Dale had brought in a Toast Head approximation:

Dale's Toast Head

The photo printout was sort of a cheesy stopgap, because he thought the sides needed to represent a stack of toast; otherwise we risked people thinking they were Bread Heads. But everyone liked the photorealistic approach. We will continue to explore that. Dale thinks the butter is too distracting; Mary Frances liked it. Mary Frances wants the chorus to be the Toast Heads, which is not an impossibility.

Mary Frances played with the Sunflower Carol Lee had re-approximated. She had some interesting new takes on things that could be done with them, including having just one sunflower per dancer/puppeteer.

We moved into discussion of the Inn: what will it look like? Marc had already posted some ideas previously on the Lacuna blog (here), and he had some sketches of Swiss Army knife-looking contraptions, which allowed various pieces of inn/set to fold out.

Dale whipped up a little model…

Dale's inn

…based on ideas he had while daydreaming during last night’s Masterworks concert. The two square, two-leveled platforms could emerge from the wings, unfold, then walls could pop up and unfold, with perhaps a pediment flown in, etc.

Dale also talked about an idea he had based on Marc’s ideas, wherein we provide frameworks and then the walls are puppeteered in and out. He suggested that for the May 3 performance, we could have the MMH bustling “from room to room” by having the rooms move around the MMH.

Marc then built an elaborate periaktoi with all kinds of flaps and foldouts. Periaktoi…

Periaktoi frontPeriaktoi front

…seen here in back view and front view (from hstech.org), are rotating triangular arrangements of flats. You paint a different scene on each face, then rotate them for changing scenery.

We thought this might be an easy way to do the Inn, at least for May 3. We’ll pursue it. Marc suggested doing the photorealism thing in a collage style, of architectural elements, not necessarily in a naturalistic manner, of course.

We have two more workshops until spring break, so we’re going to spend both of them creating the visuals for the projected version of Sun & Moon Circus. Bring your color, cut & paste supplies and play with us! You can download a PDF storyboard here.

What have I left out? Comments…

Hedgehogs (Day 217/365)

I had fun, fun, fun today: I began working with Sherry Lambert’s kindergarten class during their music block time, turning them into our adorable horde of hedgehogs.

First I explained that I was doing a play (that actually got some recognition and some excitement from two or three of them) and that I was going to invite their parents to let them be in it.

Then I showed them the book and read them The Man in the Marmalade Hat Arrives. They liked it, although I’m sure most of it went right over their heads, “incommodious load” indeed.

Then I showed them the hedgehog videos I had found on YouTube. We ooh’ed and aah’ed over the cuteness of the little critters. We discussed how they sniffed and waggled their pointy little noses, and we tried sniffing our neighbors. We observed how they walked, and finally we saw how they can curl up into the cutest little ball (and are even cuter when they uncurl.)

Then we went back to their mat and began to practice what we had seen. We sniffed, we waddled, we curled up and uncurled. Great fun was had by all.

I told them I knew Ms. McDonough (our wonderful music teacher) had taught them how to march, actually a good guess, and they all immediately showed me. I asked them to do it in slow march, and they did that.

Finally, we asked ourselves if it were possible, just possible, that we might be able to march like hedgehogs? Experimentation soon showed that it was, yes!, possible.

All in all, a fabulous day in Hedgehog Land.

Moving forward (Day 216/365)

Amazingly I was quite creative today.

At school, I finished the hearing impaired morning announcement video. Everyone thinks I’m just grand to have accomplished it, and I guess Final Cut Express looks impressive enough to dazzle most people. Actually, I did do a good job with it. It looks very nice.

I received confirmation that the Cultural Arts Commission is in agreement to help us out with William Blake, although I think their support at this point is still a little fuzzy. No matter, it’s enough to move forward with. I called and confirmed the dates of April 29-May 3 for rehearsals and performance at Wadsworth Auditorium. I am to write a letter to the mayor and city council referencing the Cultural Arts Commision and Global Achievers and our ties to Scotland, asking for a waiver of all fees for the space.

Bette Hickman, our intrepid producer, wants to make it open to the public, and I had come to the same conclusion. This could be a really big thing.

I got email done to all our participants, informing them of our new successive approximations.

I got a couple more measures of the Sunflower Waltz scored.

I worked on the official proposal for the Cultural Arts Commission.

I created Lacuna stationery.

I started a storyboard for Sun & Moon Circus.

That should be enough, don’t you think?

Workshop, 3/6 (Day 215/365)

Lots going on today. First of all, I videotaped our hearing impaired students saying the Pledge of Allegiance for their announcements for Friday morning. It’s Exceptional Children’s Week, and all week students from different areas have been leading the pledge and also telling about famous people in the past who were or would have been in special needs classes. One of the hearing impaired students signed a couple of paragraphs about Helen Keller.

Their teachers originally wanted to narrate the video, but I dissuaded them. Well, OK, I forbade them. This is the kids’ moment, and I told the teachers I would close caption the video. What about the little kids who can’t read, they asked. Their teachers will read it to them, I pointed out.

Anyway, I spent a lot of the day editing the video in Final Cut Express, structuring it like the morning announcements, putting cheesy “news” music under the lead-ins, close captioning the Pledge and the Helen Keller bit. I even put photos of Helen Keller over the shoulder of the student, cross-fading between each one.

At Lacuna workshop (Dale, Marc, Laura, Melissa, and Carol Lee in attendance), we were productive as usual, although in a different way this week. I brought my worries about the calendar to the table, and we hashed that out. Part of my worries has to do with not knowing whether we have a place to perform this, and we talked about that. I know that our producing arm is working on it, but it makes me very anxious not to know.

To make a long evening short, we decided to keep working Tuesday nights (7:30 for those who would like to join us) for the rest of March, getting together our design concepts and choreographing the two staged pieces.

The first week of April is spring break, and many of us will be in New York City. And I don’t think I’ve mentioned that we will be having lunch with Nancy Willard! She’s coming down from Poughkeepsie, and we get to meet her! I’m still excited about that.

Then, starting April 10, we will meet Tuesdays and Wednesdays and begin dragging in the casts of Man in the Marmalade Hat and Two Sunflowers. Actually, on April 10, we’ll invite the members of the chorus to come and work on a little blocking/physicalization of their part of this thing.

Sometime in April, we’ll hold a weekend color-cut-and-paste session where we can build and paint stuff we need all at once.

We buckled down and got our What We Need and Who We Need done for Man in the Marmalade Hat. (Lurkers, there’s lots you can do. More than enough. Get to work.)

We realized that at some point we need to storyboard Sun & Moon Circus so we can deliberately produce visuals for the multimedia part of the concert. I also shared that I had envisaged staging “production photos” of that and other pieces for the multimedia, i.e., photo a kid tossing up a planet balloon and use that as a visual.

Carol Lee had done a different successive approximation of a sunflower, one using a glove. We’re still undecided between the glove and the crossbar on manipulating the sunflowers. She will work on those this week.

Laura wants to work on a prototype for the hedgehog costume. (Dale will start working with Laura’s mom’s kindergarten hedgehogs this week.)

Marc will work on design concepts for the Inn itself. We did decide that for May, we can get away with simple suggestions.

Dale will work on prototypes for the Toast Heads (the MMH’s marching band).

Melissa, were you working on something? I didn’t write it down.

Everyone is to work on visuals for the winter/spring motifs for the MMH’s banners.