Image by geishaboy500 via flickr

It’s a Saturday night, and I am in the process of firming up the fact that I am the best Dad ever.

You see, as opposed to sitting at home futzing around on my computer or even, perhaps, going out on the town I am sitting in the lounge of an indoor Parkour track that is located in Odessa, Florida. Have you not heard of Odessa, Florida? Yeah, neither have I, really. It’s pretty much in the middle of nowhere, about an hour from our house. There are no decent places to hang out anywhere near here, unless you consider McDonalds a “decent” place to hang out (and even that is about 10 minutes or so away). Why am I sitting in this lounge, you may ask? Because my son has recently been intensely interested in Parkour, and he really wanted to come up here and take the two hour class that they are offering.

So. Here I am.

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You see that one? You see that utter and complete failure personified right there?

That represents my roll to keep this blog updated more often. Wow. Talk about critical failures. I haven’t updated in over two months. It’s certainly not that there hasn’t been stuff to write about, I just…I don’t know what. No inspiration? Lack of energy? Total eclipse of the heart?

Turn around, bright eyes.

Anyway, I thought I’d make some kind of lame effort to put content out here this morning as I’m up particularly early thanks to an overwhelming need to urinate and a gnawing hunger in my belly. Yes, you totally needed to know that.

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As has become the tradition here on my little ol’ blog, I am posting up links to all three major reviews that have come in for Dead Man’s Cell Phone. For the most part, they are overwhelmingly positive. There are some quibbles about the script itself, but even with those caveats all three critics had tons of lovely things to say about our little production.

A fine production of Dead Man’s Cell Phone, an imaginative if flawed play by the ubiquitous Sarah Ruhl” – Mark E. Leib, Creative Loafing, June 9th, 2010

“‘Dead Man’s Cell Phone’ starts out strong, then fades out” – Marty Clear, The St. Petersburg Times, June 10th, 2010

“‘Cell Phone’ message is loud and clear” – Kathy L. Greenberg, The Tampa Tribune, June 10th, 2010

I’ve said it before, but I’ll emphasize here again. I don’t do what I do just to get a nice review, but I sure as hell don’t mind it when that happens. All three of these reviews are awesome, and two of them are especially complimentary to me personally. Mark says that it might be my best performance, and Marty refers to me as “always excellent.” I’ve heard similar comments from some of my peers who have seen the show.

Is this my best work? I honestly don’t know. I can tell you that it’s some of my most honest. I can tell you that the things that have been praised about the show are things that the cast and crew consciously worked on and that they were not “happy accidents.” I can tell you that the audiences that have seen the show so far have seemed to thoroughly enjoy themselves and that we’ve been getting lots of positive feedback on Facebook and Twitter.

Another show that I got high praise on, personally, was Playing with Fire : After Frankenstein. Unfortunately, in the realm of ticket sales, not a lot of people came to see that show (despite great feedback and positive reviews). I hope that doesn’t turn out to be the case again.

Please, if you can possibly spare the time, give us an opportunity to entertain you for an evening. I promise you that you won’t regret it. If money is an issue please contact me directly. We have several means to get discounted tickets available and can possibly work something out to help you get into a seat.

If this sounds a little early for me to be all desperate and pleading…It’s only because I’m proud of the work and I want to share it with you. I have had people tell me that they “wished they could have” seen one of the shows so many times it makes my head spin. Don’t be that person!

…It’s been a while. Where should we begin?

Ok, I own up to it. I’ve utterly and completely neglected my personal blog because I’m all over social networking and any time I feel like expressing my thoughts, feelings, or what is going on in my life I do so using 140 characters or less.

Wheew. There, I said it. Acceptance is the first step towards recovery, is it not?

Although I’m not entirely certain I really WANT to recover.

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Editor’s Note – As part of my work with The Artist’s Way I am occasionally required to complete certain assignments that are intended to help me discover the things that have me “blocked” as an artist.  Unlike the daily exercise of completing 3 pages of long hand in a journal these stories do not, necessarily, have to be private.  As such I figured that since I was writing this anyway I’d go ahead and put some actual content in this journal for a change instead of letting it fester here unused.  Please understand, though, that what I am writing is not necessarily going to be a rational take on my experiences or any kind of plea for help.  On the contrary, these entries are actually part of a conscious effort to improve myself and my self-worth.

I have been asked to describe one of the “monsters” from my past that has held me back as an artist.  I really had to think hard about this because, frankly, I’ve had more support than not in my quest to be an artist. After thinking about it for a while I did manage to come up with my three, and here are the details on one of them…

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I started writing this post a few days ago.  I figure I’ll just go ahead and append on the end of it with the understanding that, perhaps, my head space is a bit different than it was when I first began this ramble.

Not only do I feel the need to break up the utter and complete monotony of posting nothing but my workouts here, I also have a compulsion to simply talk about a few things.  Get some stuff out of my head and out there in the ether as it were.  As a result this may end up being an incoherent post at times, so I apologize in advance.

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I am an ensemble member of the Jobsite Theater, and have been since the program came into existence in 2005.  What this means, in a nutshell, is that I do not have to attend the annual general auditions that they hold for the public.  They are aware of what I am capable of doing and when it comes time to cast the shows for an upcoming season they do not need to see a monologue from me to determine whether or not I have any talent.  I do, however, have to go to the call backs for specific shows if a director feels that I might fit for a role.

If you’ve never been through an audition process I can honestly say you aren’t missing much.  In all the experiences I’ve had in my life, I can honestly say that the emotional roller coaster that happens during the casting process is right up there as being one of the most grueling.  You may perhaps think I’m exaggerating, but consider the following – If you’re working with a company that you’ve worked with in the past chances are that you know most of the competition.  In my case, this means I end up reading against a bunch of men who I think are insanely talented AND who I happen to like quite a bit.  You want to talk about conflicted emotions?  You may want a part really badly,  but chances are that your peers want that same part.  In order for you to get it you have to beat out those folks.  They have to “fail” where you succeed.  You stand there, smiling and chatting like friends should but inside you’re wondering if this is the person who the director is going to choose over you.  It’s gut wrenching.

Along the same vein, you usually know and (again) consider the director to be a friend.  Do you have any idea how hard it is NOT to take it personally when you’re “rejected” for a part by someone you consider to be a friend?  You can sit there and rationalize and say that you just weren’t what they were looking for all you want, but in the end it still feels like a kick to the gut.

It’s even worse when someone at the audition is considered a favorite by the local media.  An actor who has won a “Best of the Bay” award or who is frequently cited as being someone to catch in the area before they move on to “bigger and better” things.  When you see someone like this at an audition and they are reading for a part that you want the temptation to just pack it in is insanely powerful.

So, ok.  You make it through that night.  As soon as you get in the car to head home you start trying to figure out who got a part.  Sometimes it’s pretty obvious, to be honest.  Generally speaking you can bank that if one actor reads for the same part multiple times and hardly anyone else reads it said actor has the part.  This is by no means a hard and fast rule, of course, but I’ve seen it play out this way more often than not.  If you have any doubt, though, you start watching your email or checking your phone constantly waiting for some kind of word as to how you fared in the process.  Depending on the director or size of the cast this process can take weeks.  The longer you wait the more time you spend convincing yourself that you didn’t get the part and the more you dread the email you know is coming.  The “Thank you so much for you’re time.  You’re wonderfully talented but we have our cast” email.  There have been a few occasions when I’ve convinced myself so thoroughly that I was getting one of those emails that I’ve been literally shocked to get one in which I was offered a part.

If you do get that rejection notice, though, it begins yet another period of emotional trauma.  If you’re anything like me it does, anyway.  You flagellate yourself with self-depreciating comments like “I’m not talented enough,” “I’m too fat,” “I’m too ugly,”  and other teenage level emotional suicide bombs.  You being to wonder if you’re really all that good or if, in the shows you’ve been cast in, you’re just the only person they could get.  This usually lasts all the way until you actually see the production, at which point you generally have to admit that the person who was cast was really the person who was right for the job.

Which, in the end, is the only truth there is in this.  As an actor, you are not perfect for every role.  You may think you are (…may?  who the hell am I kidding?  Actors are some seriously egotistical bastards…generally speaking it’s why we act in the first place), and you may even be right, but you’re never going to get every part you go out for.  It’s a hard, depressing reality to face but there it is.  It sucks, and every year we put ourselves through it.  Not because we’re gluttons for punishment, but because it’s something we’re driven to do.

And because, frankly, we’re a little bit crazy.

Wouldn’t you have to be to go through something like this?

If any of you locals reading this would like to see Rosencrantz and Guildenstern this weekend but find the cost of tickets prohibitive, please let me know.  We’re looking to get some asses in seats this weekend and I might be able to negotiate some deals with

on your behalf.

The blockbuster run of Rosencrantz and Guildenstern are Dead  MUST CLOSE on April 27th to make way for the State Thespian Festival next week. We have 3 remaining shows: Fri and Sat (4/25-26) at 8pm and Sun at 4pm.

Over half of all of the regularly scheduled performances sold out, and many others were just short of that mark. Local critics and regular theater patrons have been a-twitter about Jobsite’s staging of this contemporary classic of the theater:

“The current Jobsite production of Rosencrantz and Guildenstern are Dead is the best version of the play I’ve ever seen … every problem the play has is brilliantly solved by director Katrina Stevenson and her four main actors…” – Creative Loafing

“It’s fun, fast-paced and relentlessly clever … Jenkins and Paonessa [have] never been better than they are here under Katrina Stevenson’s direction. Their timing – comic and dramatic – is excellent, and they both find just enough depth in their characters to keep us interested. If their performances weren’t so strong, Paul J. Potenza might steal the show with his manic and crusty turn as the Player, who is likewise elevated from minor status in Hamlet to a central role.” – St. Petersburg Times

“Stoppard’s existential play is filled with more head-spinning rhetoric than a political convention. It needs a steady hand to ground it long enough for audiences to enjoy the frivolity, and Jobsite’s cast and crew did just that … [Jenkins] captured the oblivious innocence of a child playing with matches … [Paonessa's] sense of powerlessness was palpable … Potenza was outstanding as the Player. He commanded the stage with a dynamic performance.” – Tampa Tribune

This production is already the third highest-attended and top-grossing play in Jobsite’s history, behind only The Pillowman and this season’s landmark season opener Gorey Stories.

Jobsite truly hopes you can send us out with a bang! Since this weekend was recently added, we have ample inventory for all performances. If you need to take advantage of the student, senior or military rush offers on tickets – check back here as the week goes on and we’ll keep you updated if we expect any tickets to remain to those performances as of that half-hour window.

But why not just go ahead and nab your ticket now and be done with it?

(reposted from here)

So far everyone I know who has seen the show has loved it, and this weekend is your final chance to catch it before it is gone forever.  I’ve heard several people say that they didn’t care for the script prior to their viewing of this production and that this was the one that finally made things make sense (including the reviewer for Creative Loafing).  Don’t miss this opportunity to not only see a great show but support live, local theater as well!  

Absurdity meets history in Jobsite Theater’s ‘Rosencrantz and Guildenstern Are Dead’ – Marty Clear, The St. Petersburg Times, April 9th, 2008

It was 44 years ago…

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