Thunder Above and the Saloon

You’ve got to see Thunder Above, Deeps Below.  I have said that Rey is the Asian American Tony Kushner of our time.  Go see why.  He’s taken Pericles and dropped it down into Chicago with three homeless kids trying to head west before the winter hits.  It is charming, irreverent, surprising, and best of all, theatrical.

Also witnessed the most packed Saturday Night Saloon ever.  Almost didn’t get in.  Everyone has amped their game up this year.  You have to wait until October for the next installment, but I recommend showing up early for some really good stuff from James Comtois, Mac Rogers, Crystal Skillman, Dustin Chinn, Jeff Lewonczyk and Brent Cox.  I would try to explain, but it’s difficult to encapsulate that which is the Saloon.  Genre-smashing, ingenious, speakeasy theater.  There.

A Room of One’s Own

Good thing I have good walking shoes.  And an Unlimited metro card. Run around time has begun.

Started the new Pace class yesterday.  They are an awesome group.  I introduced Liz Lerman’s Critical Response Process (thanks to Unlocking the Classroom for putting my eyes on it) as I’ve been not 100% pleased with how feedback sessions go in creative situations. I wanted to practice on work that wasn’t theirs.  I asked them to choose a play we were all familiar with.  Perhaps it’s a sad state of theater that we couldn’t find a common play.  I went to film.  Someone suggested Star Wars, but not everyone had seen that either.  Somehow we ended up with a certain film about a man who overcomes his disabilities, class and a single-parent up-bringing to become an influential–albeit, haphazardly so–figure in history.  Yes.  That movie.    But that’s not important.  What’s important is that we practiced the process, with them taking turns as the writer and responder while I facilitated and they got quite good with it in a short period of time–giving and receiving feedback in a meaningful way.  And it really made a difference that the artist drives the conversation with their own questions about their work.  We will see how the semester goes, but I am quite hopeful and so glad to have found this new way of workshopping plays right off the press.

Started at Teachers and Writers yesterday.  I am meant to assist with their programs this year and to work on my own writing.  I am so excited. When I was taken to my new office, I almost started to cry.  A lovely little room, filled with light.  A red wall, two other walls of glass and the third wall with a window, from which you can see the Hudson.  A little red hand-painted public school chair that was apparently found on the street.  I have never had a room of my own in which to write.  It does make all the difference.

I am familiarizing myself with their programs and am astounded at how far reaching they are and what a lovely history they have, being founded by many, but Herbert Kohl and Muriel Rukheyser, who are two personal heroes.  Much to do.  Much to learn.  Much to look forward to.

September is here…

As such, the school year has booted up again and I’m about to get mad busy.  Started curriculum building at the New Vic yesterday and am very excited to be working on The Enchanted Pig from the Young Vic in the UK.  It is nice to be thinking about how to excite young people for a show before they even get there.  And this one’s a stunner.  Full-blown, mad-cap opera.  Gorgeous.

Also getting ready to train and build curriculum at some of my other TA gigs.  People laugh when I say I have 6 jobs.  But I do.  It’s going to be an interesting year.

And there’s that little matter of the play that I have to get done for Labfest.  I have a month.  No problem.