Tuesday, February 10, 2009

'The High Wire Act'

Yesterday, we finalized the set design. We were finally able to get into the theatre where we will be performing,  so it was finally visually available to us. The set is fairly simple, but maximizes the ceiling space,  which is tall. Thursday, we will begin to build out the set. It will take two or three days to build the actual structure, and then we will select the colors after we have a little time to 'live in the space and on the set'. We also began to talk about the lighting design, but the most fun, (and most intense) has been formulating the 'sound design'. This play lends itself to sound. Kurt has some very strong instincts on the sound, and Scott found us a great composer and sound designer. He came to our rehearsal on Saturday and seemed to really like the show. Afterwards, he had some great ideas, and so sound will be a big part of this show. Although I won't go into detail, (you'll have to eventually see it) I will tell you that much of the show takes place in the desert, and there are many cowboy motifs, so use your imagination. Think wind. Think a soft waltz. Think a single car on a highway. Think of an echo in a canyon. Think of a choir. Those are some of the sounds that play against the tableau of the play. As a performer without other actors, the design elements become very important. For example, a good lighting design can draw emotion out in the same way you might feel on a night when there is a full moon. A soft blue light can soften you and draw out melancholy. The sound of wind can inform a section of text in new way and so on... 

Although our crew and staff are rather small, there is still a definite 'buzz' we are getting from the show. At a certain point in any show you can begin to get an idea of what you have. There are always elements of a 'new' play that you still believe need work, however, like a new song, a new poem,  or a new novel, in the first presentation there is always a certain 'raw' element that will makes it work in spite of flaws. Because this work was supported financially, however, I was able to devote everyday for a number of weeks to get it beyond the initial drafts that occur in a new piece. So, although this play will go through a 'tweaking' process, I feel it is fairly mature in its development. We are very excited at this point about the play. If we can get the design elements where they need to be, we believe we can carry the piece beyond the 'cookie question'. (the cookie question is: While watching a play, the audience member begins to think about the cookies they might be serving at intermission or after the play instead of what is happening on stage.) The first job of the production, (and the play) is to stop cookies from coming into the audience's head. We think we can do that for 90 minutes! 

Our biggest worry is the financial one. We are down to the last of the grant money, trying to get the show opened with minimum funds. Although we have spent money on a publicist and getting out show and name out there, its is always hard to build a new show in a short period of time. So, our ticket sales are abysmal right now, but we are sure if we get people in, we can build an audience. If our ticket sales don't happen, we will be broke, (but happy with our work) here in Los Angeles.  There is a saying in any endeavor and is true with this one, "it takes money to make money".  In tough economic times, when people are holding onto their money, its hard to convince people that theatre is still 'vital' to their lives. The stakes are high, but when they are high, that is what can create great art. I really believe this show more than any I've produced, has the potential for great things. Because its only one actor, and the design elements will be fairly mature when the run is up, it will be easy to take to other cities. With a little more financing, this show has the potential to make a really great profit. I have an offer to take the show to Austin,  Texas for three weeks in April, but it will take some money. If there is any one out there who wants to 'partner up', let me know immediately, and we will take on those sixteen shows. I also have a place to take it in Kansas City.  It will take at least the rest of this year to get the show 'known' for touring venues, but by the years end, the show could easily be making a thousand or two thousand dollars a night, depending on the venue. If you are looking for an investment that is different from the stock market, my email is Rshurtz57@gmail.com.  I used to be very timid when it comes to asking for financing, however, I've been doing this along time now, and am convinced it really is worth something!  Another way you can help is make a small donation or buy some tickets! plays411.bohemiancowboy.

Lastly, I will try to keep you as informed as I can with the details of the play as its coming down to opening. There is much to be done, but now the energy to do so really begins to kick in. The hours become extremely long, but at this point, we would spend our last twenty bucks on a gallon of black paint. This is the 'addictive' part of the show, when miracles happen, and life is transformed into another dimension. Who knows, by next week, we could sell out all the tickets, its so hard to know... 

1 comment:

Gerry said...

Now it is count down to the opening. I am sure you have been working very hard to garner an audience as I have seen you work at every single new play opening, and to the end of the run. Gary came over and said that he is planning to come I think the second week. He is going to take about 3 days off, he said, since he has not taken any days for a long time. I talked to Dan and he is firm in his plans to come and will let me know just when and then I will order tickets, but I don't know yet what week. So this is going to be fun for me. Yes, you are doing this in hard times, but we need excitement more than ever, so I know some will respond.