“Entering the Nest – The Bold Italic – San Francisco”

November 11, 2011

The Peacock Lounge on San Francisco’s Upper Haight always intrigued me. In the years I lived there I saw it open once and promptly walked in.

Greeted by a large man in a suit who put his arm around my shoulders. While smiling and asking how I was, he walked me right back out. There were a few older men seated at the bar who all went silent when I entered and watched my escorted departure.

To this day I’ve wondered what the hell goes on in this obviously private lounge. Let the mystery be revealed…

Entering the Nest – The Bold Italic – San Francisco.

| More: Writing

The White Days in Images

October 28, 2011

We recently shot video of the entire play; not sure what will become of it. If it’s possible to post it here, maybe I will. Our director/playwright, Curtis Taylor, has collected a number of screenshots from the shoot. Here they are in no particular order.

Also, the show has been extended into November. We’ll be performing on the first Friday & Saturday of the month! If you missed it before you still have a little time. The shows have been near sell-outs every single night!

| More: Event, Performance, Theater

City Arts Fest 2011, Fred Wildlife Refuge

October 20, 2011

Free Sheep Foundation are curating a show for the City Arts Festival at Fred Wildlife Refuge. Here’s a pre-show look at NTG’s latest wheatpaste commentary. The fellows on the wall are Officer Ian Burke and  Christopher Monfort. Look them up if you’re the curious type.

Here’s the flyer for the show. Drop in if you have time. There’s some lovely stuff up by a number of wonderful people.

| Tags: , , , | More: Event, Photography

Curtis Taylor’s ‘The White Days’

October 02, 2011

[UPDATE! Poet Robert Mittenthal has written a short ode on our play, ‘White Days (the after draft) – for Curtis Taylor]

Here’s what I’m working on…

The White DaysIt’s been a 6.5 week process of getting this work to come to life. We’ve had two shows so far and both sold out. That’s fantastic and gratifying; a big ‘thank you’ to everyone who’s come so far.

Here’s the press release:

The White Days is a play that explores the nature of loneliness as it occurs across ephemeral modern spaces (the internet, delivery routes and recorded voices). It is also a play about trophy restoration and stealing from vending machines.

This original chamber-drama written and directed by Curtis Taylor (2011 Artist Trust Fellowship/Theater) and produced by John Kazanjian as part of New City Theater’s Resident Artist Program.

The production features Erika Mayfield (Christian Palmer’s ‘William Never Married’), Pol Rosenthal (Dayna Hansen’s ‘Gloria’s Cause’, Implied Violence, Degenerate Art Ensemble), Paul Budriatis (solo performance ‘Instability’/On the Boards), and Richard Lefebvre (‘Calamari Union’, David Russo’s ‘Immaculate Conception of Little Dizzle’).

Production design is by LILIENTHAL|ZAMORA (‘STILL’, ‘portrait + landscape’/Hedreen Gallery; ‘The Thin Place’/Intiman Theater), lighting by Jessica Trundy (Washington Ensemble Theater), sound design by Doug Haire (KEXP’s ‘Sonarchy’, Seattle Phonographers Union), with costumes by Nina Moser (Guy Maddin’s ‘Brand Upon the Brain’).

PERFORMANCES: 8pm
Opens: Friday September 30
Runs: Thursdays, Fridays, Saturdays through October 22
THEATER:
New City Theater 1406 18th Avenue,
Seattle, Washington  98122
206-271-4490
www.newcitytheater.org

TICKETS: $20 Available Night-of-Performance at Theater Online at Brown Paper Tickets: 

http://www.brownpapertickets.com/event/189537
 Telephone ticket sales: (BPT): 1-800-838-3006

More info:
And here’s a cellphone shot of the cast in group hug mode the night of our first show. I’m still giddy over it… That’s me, Erika Mayfield, Richard Lefevbre, and Paul Budraitis. Those people are heroes.
| More: Performance, Theater

Musical Performance: Right HERE/Right NOW

September 11, 2011

[UPDATE! Here/Now has finally posted the group portrait for the night and has written a short piece on the event; check it out here]

Here/Now Group Portrait

Don't we look great?

Last night I had the pleasure of playing an improvised set at Paige Barnes’ and Christopher Hydinger’s HERE/NOW improvisational performance event. This is their description of Here/Now: ‘HERE/NOW consists of 8 Dancers and 8 Musicians randomly paired together and given 8 minutes to improvise a duet.’

I was one of the musicians and I was the last selected to play. I haven’t done a lot of improvised music so this was definitely a daunting moment for me. I have a lot of faith in myself as a performer so the fear was kept at bay easily with cigarettes and bubbly water.

Dancer Beth Graczyk and I were selectively partnered. I’ve known Beth for a minute; been fascinated with her dancing for a longer time. As soon as she said ‘hello’ on the street on our way into the performance space I had a feeling we’d be working together.

It couldn’t have been any better either. I brought silver bowls and blue enamel camping mugs, a lot of dried beans, and a set of shiny tiffin pots. Beth had her own inspiring self.

We opened with an expectant looking Beth staring at me and doing some light, jerky full-body twitching while I slowly poured beans into a large stainless steel bowl. The beans made pinging noises and the sound gradually became lower in tone as the beans filled the bowl. But who cares? What’s more important is what happened.

Beth at some point decided to throw herself into my large collection of cups and bowls and landed on her back, head shaking among the kitchen ware. Beans were splashing to the floor and over both of us. I worried that the sharp noises might injure her ears (it’s metal on metal!), but she showed nothing except abandon and so we raised the pitch.

Somehow, I’m really not sure how, Beth grabbed me, dragged me, wrestled me away from the pots and through a lake of spilled beans to the middle of the dance floor. I kept trying to keep at least one thing to bang on, but she was kicking me and I couldn’t find my feet and the beans were slippery. There was an awful lot of clanging and foot stomping and I think she was yelling, but I might have imagined that.

Eventually we separated and I made my way back to the mess of my instrumentation. We finished with some simple scraping noises and Miss Gracyk swaying. I think. I could be wrong; there was a lot going on and I was terrifically excited. I might have remembered things wrong.

The audience seemed to enjoy our duet; I know I sure did. I gave Beth a huge, real hug and we took a bow.

The organizers had the night recorded, but I won’t receive a copy for weeks, sadly. Hopefully when it comes out I’ll be allowed to display it on artofmulata.

[Update: I’ve received the DVD and it’s amazing. These guys really put a lot of work into making the disc lovely. If you want a copy go to their website and order one; you won’t be disappointed!]

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