Opening our "Christmas Gifts"

Tonight at the Palestine Community Theatre was the premier for "Christmas Gifts", an original Christmas musical by Jamie Waldon King.  And with apologies to Ms. King, I was prepared for a rather maudlin rehashing of the same old themes of every holiday play ever performed by local theater.  I say apologies because I was wrong.  (I know...when you've recovered from your faint read on.)

There were several strong elements in the script which lifted it above the norm.  It dealt with teen pregnancy, adoption, divorce, gossip, disaffection, even blossoming romance, and all within a context of Christmas and Christian faith that didn't bang you over the head with a club.  Okay, there were brief moments, but hey, it's a Christmas play in East Texas.  Give 'em a break.

The story moves well between overlapping vignettes set in a small community.  Each story line is connected in more than one strand to the others.  For example, the story of the "unwed teen-aged mother" played by Sarah Ellison was not preachy, but touching, real, and compassionate.  Sarah, one of the several standout performers, played to part boldly but with pathos.  She wonderfully showed a young woman making hard choices as a result of a bad choice.  She wasn't perfect, nor were her choices, but they were real.  She also sang beautifully.  The acting of her mother (Terri Warren) was also very good, showing acceptance without condoning.  Terri, coming off some illness, struggled with some of her songs, but her strong voice carries through.

A young couple in the play and in life were Matthew Raybin and Shannon Smith.  I have nothing but praise for their performances.  I have watched each of them grow from children to adults in that theater and their talents grow with every performance.  They shone with confidence, maturity, and complexity of character not often seen in actors of their age.  Sure of their performances even when their characters were unsure.  Wonderful.  Their singing was spot on.  Again, improving every time I see them perform.  I can't wait for their next appearance.

Always a pleasure to watch and hear was O
livia Santone.  She has a range of characters that is remarkable for one so young.  And in that, her age is hard to pin down.  She can play a teenage or an adult with equal aplomb.  Her singing is always strong and full of passion.

There were many other actors that did fine jobs, although most were simply good to okay.  There's no shame in that, of course.  There were times where songs were sung in different keys- at the same time; or out of sync.  And especially complex number at the beginning seemed to get away from them.  Once that happens it's really hard to rein it back in.  The singing of some of the actors was the biggest problem and the greatest strengths.  Of course the gum chewing teenaged chorus member was a real distraction to me.  That's a balance hard for any director.  The dancers were a very nice addition to the numbers where they participated.

Two things more I must mention.  First, I was disappointed in that canned music was used.  I fully understand.  This time of year especially, live musicians are in hot demand for churches, schools, parties, dance recitals, this, that, and the other.  In this case, pre-recorded music was probably the only good alternative, but it is still one of the very few times it has been used at PCT.

Second and lastly, a beautiful surprise by the name of Zaylee King.  Her part was not large, but it was important.  She sang with the voice of an angel and the face to match.  Placed near the end of the "Nativity Sequence", she was a sweet blessing to the ear and eye and brought a nice closure to the piece.

Strong story, well designed and constructed sets, well done costumes and staging.  I would recommend this for anyone looking for solid family oriented holiday entertainment.  But hurry-- there are only two more performances.

RENT this space

This past Saturday night, Kathy and I braved the chilly East Texas version of winter to travel to Tyler, Texas to see a performance of RENT at the Liberty Hall theater.  (This despite the fact that I had just rolled in from a four-day conference in Houston minutes before.)  Neither of us had seen anything in the Liberty, so we were looking forward eagerly to this new space.  We found a good parking spot, took the de rigueuer selfie from the opposite side of the street, and found our way inside.

We were greeted with convivial smiles (and wine) and a couple of familiar faces.  Good start.  We already had our tickets in hand and so walked on in.  Goodness continues.  Sat next to some lovely people.  Things look good.  Lights dim... magic begins.

[In review like this, it is customary to be universally positive in order to remain on good terms with people you might be working with sometime soon.  There is much good to talk about.  There are also problems about which I will write in order that we may grow as performers, and so that you can believe what I write is true and not whitewash.  Enough disclaimer-- on with the review.]

Let's start with the positives...  The acting was really good.  At times it was great.  Of special note were JC Schimdt (Angel), Kristen Bedevian (Joanne), and Joshua Carpenter (Tom).  Their acting was spot on with emotional highs and lows that carried the audience with them.  There was a lot of honesty in their work.  Even though the character of Angel is an "over-the-top" personality, the portrayal was very honest.  I've known people like Angel and that's how they are (or were).  Joanne's frustration with an inconstant and mercurial partner were apparent, yet completely believable.  She showed power and vulnerability with poise and pain.  The best part of Joshua's performance as Tom was at the beginning and the end.  It was the painful contrast of the high of rapturous joy in love found and the crushing pain of a loved one lost.  The love itself is never lost.

The music was both a strength and a weakness.  The band sounded great!  But they frequently overpowered the vocals. [suggestion: let the electric instruments have a volume control on the sound board as well as with the musician.  On stage the balance is hard to hear.]  Also in that same vein, there were microphone problems galore.  It is hard for an actor to deliver a balanced performance with they must shift from talking to shouting with no notice.  Sometimes it can't be helped...sometimes it can.  Another strength and weakness in the music came from the vocals.  Wonderful strong voices, full of passion and joy and angst.  But tuning became an issue.  I'm picky- understand that- more than almost anyone in the audience has a right to be.  But there were wonderful emotional moments ruined for me by flat notes from the primary vocal.  It may have been the inability to hear themselves over the stage band, I don't know.  For most around me, there was no problem.  Maybe it was just me.  I'll stop there about that.

For me, one of the highlights of this show was the "second intermission".  Right after the second act began, just as "Seasons of Love" is coming to a conclusion... the smoke alarms went off due to an overzealous smoke machine.  We cleared the theater into the cold.  On the sidewalks the cast and audience together began a rousing chorus of "La Vie Boheme" to the defiance of the demon enemies of Thespis.  Once cleared, we went back inside and rebooted Act II.  That last burst of comraderie only cemented the wonderful feelings and bonds of caring for what was happening on stage.

With all my carping and bitching and moaning, I thoroughly enjoyed the show.  The emotion was real.  The passion showed through.  The pure delight in performance pervaded the night.  I can't wait to see what's next.

Canadian Godspell in Crockett, Texas

Last Friday night, November 29th, Kathy and I went to the Piney Woods Fine Arts Association presentation of "Godspell" from Moonglow Productions out of Toronto.  This is an updated version based on the Canadian version of Godspell.  As such it was very different from the Godspell of my youth, but quite enjoyable.  The David Rogers set design was also very impressive.

The ensemble cast performed the classic songs but with a modern rhythm and tone.  Lyrics have been updated, too, to reflect today's cultural reality.  There is even audience on-stage participation!  But that's not what I enjoyed the most.  Of all the things on stage, I was most impressed my the energy and elan of the performers.  Their voices reflected that energy with clarity and humor and pathos.  I found myself smiling and singing along (softly, I promise).  In Act II, of course, I found my eyes leaking a little, both from their touching performances and my memories of my past productions.

After the show, we had been invited to join the cast, crew, and PYFAA patrons for a reception.  It was lovely.  The performers all came and were delightful in person as well...genuine, appreciative, and wonderfully (and undeservedly) humble.

They are coming back to Texas in February to the Windmere in Dallas.  I may have to get a road trip together. Yeah... it was THAT good.

I'm just a Poe boy...

I've been meeting with my friend, Gerry Goodwin, to work on my lines and performance for "Nevermore".  It's been fun and productive working with Gerry.  I get to try different delivery styles and line readings, all in the comfort of my living room.  The last Tyler rehearsal was cancelled for whatever reason, and there is no rehearsal until the 10th of December, at which time I must be off book.  This I will do, even though I will be at a Gifted Teaching conference in Houston, Texas most of next week.

As I have said in my blogs and in the non-digital world, everything is balance.  Dudley, the character I play, is a case in point.  Without providing "spoilers", I must be careful what I give away while remaining honest within my own character.  If I give away too much, the twists in the plot are ruined.  If I don't keep true to my character, the audience will feel cheated.  The same is true for other characters as well.  We have to keep the red herring moments not too fishy so that when the twists are revealed the audience can say, "Oh Yes!  That's what he meant by....."  Instead of, "But wait, that's not what he indicated earlier."

Integrity with mystery- balance.

MisQuoth the Raven, "Ever More"

Forever Plaid is going to have to wait.  I'll keep listening to the music and trying to get my part, but the rest of life is kicking my butt right now.  We got together and watched the movie archive of the stage show.  It was really great.  I see that this is a huge undertaking for folks with day-jobs.
*sigh*

We've had three rehearsals for "Nevermore".  I have a problem- I'm not giving the director what he needs for the part of Dudley.  I'm just not sure I'm good enough (or have enough spare focus) to react to the changes he's making.  Dudley is one of the most subtle characters I've gotten to play.  Well, I wanted to be challenged!  Be careful what you wish for.  My vision of the show does not match the director's, and it must be his vision that prevails.  It's his show...he's the director... that's the way it should be.  I just hope I'm good enough and flexible enough to get the job done.  I won't give anything away here, so just stop it.  No...stop asking... I won't tell you.

My day job is also demanding more and more of my attention, as it should.  As always, I have spread myself too thin.  It's like peanut butter on a piece of bread:  too thin and there's no taste left- just bread.
*sigh part II*

I will "endeavor to persevere".  Those things kicking my ass right now shall in their turn have their asses kicked by me.  I will prevail!  (cue heroic music)

Nevermore and Forever Plaid

"Nevermore", a Poe based thriller, continues unabated.  We've had our first read-through.  It is quite promising.  Lots of experience in the cast.  After a brief flirtation with playing two characters, I'm back to playing only Dudley- and that's enough of a challenge for now.  I've been working on my character more than lines at this point, so that when I get the lines- I know who is saying them and why and thus how to say them.  I will not let the others down.

We've also had the first rehearsal for "Forever Plaid".  It consisted of letting us know who we were, what voice part we would sing, and going through some of the songs.  There are A LOT of songs!  The harmonies are tight, and our voices blend really well.  I figure work on two songs a week until after "Nevermore" and then attack it like a chocolate cake.  So much to do.

The Point of Dis-ment

I am disappointed in the turn my Adult Improv class has taken.  Every week, fewer and fewer folks are attending.  Last night- three.  I am enjoying the class, but if there aren't sufficient numbers to effectively do the class, we'll have to disband.  Sure that'll free up my Monday nights, but I need the growth.  I would much prefer the others to return over a refund.  As I said...disappointed.

"Equus" in Tyler- a review

This evening I experienced the amazing "Equus" by Peter Shaffer.  This classic play performed at Theatre20 @ Potter Place in Tyler, Texas, under the direction of Felicity Enas.  After all my years watching and performing in the theater, I had never seen the play nor even read the script.  I came to the black-box theatre with a clean slate.  Oh, of course I had my preconceived ideas based on the fame of the show, the big names who have performed in it over the years, and the "shocking" male nudity (although why male nudity is more shocking than female nudity I'm not quite sure).  The best of those ideas came to fruition, and the rest fell by the wayside like discarded blinders.

This production starred Chris Abraham as Dr. Martin Dysart and Matthew Butler as Alan Strang.  Their performances were powerful and touching.  Each in their own way depicted the inner pain and suffering that only the passionate can feel.  Passion from the character- passion from the actor.  Abraham, with at times unnerving calm, exposed Dysart's inner fears, anguish, and rage at what has become of the shards of his life.  His depth allows the psychiatrist to fall and rise and fall again as he attempts to understand his tormented patient.

That patient, embodied by Butler, draws us into his pain and delusion with what I'll call focused distraction.  Butler's intensity is ruptured by vulnerability and complexity.  His Alan Strang is as far from one-dimensional as the Grand Canyon and just as deep.  It became a joy to see, and yet hard to watch at times for fear of falling into the depths of that neurosis.  His powerful, unselfconscious performance was enlightening.

I would be remiss if I did not also celebrate the marvelous staging of director Felicity Enas.  Her use of space and shadow and simple set pieces keeps us focused on the performers and the story.  Just the right motion.  Just enough complexity.  Just the right simplicity.  The "horses" were amazingly easy to see as horses, not actors.  Their random motions as individuals, yet unified motion when united in the title entity was entrancing and effective theater.

The entire cast were a credit to the material.  Standouts to me were Robin Morris (Dora Strang, Alan's mother), Suzanne Alford (Hesther Saloman & a horse), and Mike Leatherwood in his role of Nugget, the prime equine character.  Mrs. Strang was an explosive mixture of guilt and religion and shame that seemed very honest.  That's the best word- honest.  Alford's playing of the magistrate, Saloman, worked very solidly to keep Dr. Dysart grounded in the reality of his role.  The horse, Nugget, was a physical performance of the highest standard.  All that said, there wasn't a weak link.  The truth of the play was not lost in egotistical performances, as can so easily happen.  The father, the employer, the lover- all felt real.

It is the reality... the honesty... of "Equus" that sets it apart in the ragtag world of theater.  It asks more questions than it answers, leaving us, the audience to search for those answers ourselves.  This is theater at its best.

There are three more performances of "Equus" October 19, 25, and 26 at 7:30 PM.
APEX Theatre20 @ Potter Place.  719 West Front Street (round back), Tyler, Texas
http://apextheatre20.com/tickets/#equus

"Red Velvet Cake War": No ceasefire!

The "Red Velvet Cake War", the latest production by Palestine Community Theater, is a great success.  It is a success both financially and artistically.  Is it Branagh's Henry V?  No...thank goodness.  It's a light dessert of a play with charming performances of a clever script.  The primary female lead, Dixie Dorsette, plays a character reminiscent of Lucille Ball on grits.  Katherine Newton is cold then hot as Elsa, the lonely psychiatrist.  The funniest lines belong to Doug Smith as the elderly Uncle Aubrey.  He no longer feels the need, at his age, to use filters on his speech.  Doug impresses with his characterization.

All the characters are indeed CHARACTERS, from the the newly legally widowed corpse cosmetologist cousin (Dr. Jan Sikes), the lonely tomboy cousin (Sandra Webb), the wicked old witch of an aunt (Carol Moore), the Martha Stewart of the trailer park (Cassie Severn), and the "hot to trot get outta my way" neighbor (Terri Warren) and her dementia-darlin' mama (Billie Dyer), to the Barney Fife-like deputy (Jim Vincill) and the one-eyed "bait and wig shop" owner (Gerry Goodwin).  And where do you put Cousin Purvis played by the talented Olivia Santone?  Purvis (well named, by the way) looks like he belongs on Duck Dynasty and acts like he belongs on Six Feet Under- he likes to take pictures of dead relatives and carry the photos around with him.

A good time is had by all.  If you're in the area, and haven't seen it...or even if you have...come see it this final weekend, October 11, 12 at 7:30, and Sunday the 13th for the 2:00 matinee.

I'm proving a little bit

I had a tough time at improv class last night.  I just couldn't find "the groove".  From feedback, I think I was trying to be funny instead of just being.  You know- trying to come up with that zinger, that top laugh, the climax to the scene.  That made me less generous and less genuine...a fatal combination.  I got into this class to push myself and improve as an actor, not just to do improv.  I'm glad to say I'm being stretched.  I hope I'm getting better.

This Friday is the read-through for "Nevermore".  I'm excited and a little anxious.  I haven't really stretched my acting muscles in a while. Not only that, but this is an entirely new group of people.  New dynamics; new expectations; new egos to match my own sometimes overstretched one.  Saturday I'll post an analysis of the sitch.

2x: Improv-ing my skills... Nevermore

Improv-ing my skills
Hidee-ho gang!  September 9th I started working in an Adult Improv class in Tyler, Texas, USA.  It's held at the APEX Theatre 20 on Monday nights.  I mainly joined to sharpen my acting skills.  For a while I've felt like my acting muscles were atrophying.  I enjoy working with this great group of folks in Palestine, but I don't feel like I'm growing as an actor/artist.  I'm getting mentally flabby!  Last Monday was our 3rd class, and I'm having a blast!  I'll keep you up to date on how that goes.

"Meanwhile, back at the ranch..."

Nevermore
While "improv-ing" a week ago, I was approached by the director of an up-coming play called "Nevermore", a play utilizing several Edgar Allan Poe plots and characters, but featuring Poe as a character as well.  He, the director, invited me to audition for a particular role.  I was more than gratified by this.  Here was a chance to spread my wings a bit.  I have not acted outside of Palestine for at least a decade.  Josh (the director) sent me sides for the character of Monty.  Once at auditions, he pulled the old switcheroo, which I always enjoy actually, and had me cold read for two other characters instead.  One of them, Dudley, is a juicy part that will challenge me to really work; it's not the archetypes I've been doing.  I read.  I listened.  I read again.  Then the call- Dudley is me!  I will endeavor to be worth the effort.

So long for now.

Re-posting a review of "Annie"

The Palestine Herald, Palestine, Texas

July 24, 2013

Review: PCT's 'Annie' has great cast, superior production

By GARY CONNOR
Palestine Herald-Press

PALESTINE — Not too long ago a good friend of mine observed, “I’m reminded there is so much talent in Palestine every time I attend a production at the Texas Theater.” Actually, we were both sitting in the audience just moments before the curtain went up on the opening night performance of “Annie.”

From curtain up to curtain call, my friends words echoed in my ears. “Annie” is replete with not just good performances, but rather, great performances by the entire cast.

The story follows Annie from a Depression-era orphanage to life with billionaire businessman Daddy Warbucks. Along the way, she inspires FDR’s “New Deal” for down and out Americans. And, in a broader sense, the performance by the cast of “Annie” clearly inspires the audience as well.

The story is ageless and entertains the very young as well as the very old. Extraordinarily entertaining, “Annie” showcases the very best talent our community has to offer. The cast is vivacious and filled with theatrical energy.

Eleven-year-old Hannah Weber makes a feisty Annie in her first lead role. And, Miss Weber earns high marks for a voice as big as Anderson County in her big solo, “Tomorrow.”

She is cast well and her interpretation of Annie, a young girl full of pluck and determination, unbowed by the hard-knock life she has been dealt, is exemplary.

What great story, musical or otherwise, is complete without an appropriate antagonist? In a melodrama it is the villain dressed in black. In “Annie” it is Miss Hannigan, brought to the Texas Theater stage by Sonia Martinez.

Annie’s nemesis, the villainous Miss Hannigan, sways and slurs her character effortlessly into the role of the boozy orphanage matron while relishing every second of her toxin filled solo performance, “Little Girls.”

Jim Vincill brings convincingly easy going savoir faire to the Daddy Warbucks role. A veteran of the Texas Theater stage, Jim brings personality and believability to this lead character who learns with the help of Annie there is more to life than billions of greenbacks.

Rooster and Lily, portrayed by Adam Hobbs and Olivia Santone, a ruthless pair of n’er do wells, team up with Miss Hannigan for a rendition of “Easy Street” that leaves the opening night audience cheering for more of the villainous trio.

Dr. Jan Sikes as Grace, Daddy Warbuck’s personal assistant, may have the clearest voice in the Lone Star State. Her characterization is both thorough and consistent every time she is on stage.

“Annie” is creatively staged, a significant challenge with a tenement full of orphan waifs, but director Chaundra Dantin handles the blocking of each scene beautifully.

Realistic and creative stage business for young actors is frequently difficult to achieve, but these young actors and actresses are believable from lights up to lights down.

From a rundown New York tenement and the mean streets of the Big Apple to Warbuck’s glamorous uptown penthouse, the set design is replete with authenticity, clarity and appropriateness.

The musical numbers and the choreography keep the musical production in motion. “Easy Street” and the perky “I Think I’m Gonna Like It Here” will have you patting your foot while “You’re Never Fully Dressed Without a Smile” will, indeed, dress you with a smile.

Overall, the Palestine Community Theatre’s “Annie” fills the stage of the Texas Theater with wonderful story, song and dance. Dantin and assistant director Dana Goolsby had led the extremely large cast to a superior production.

Performances will continue July 26-28 and Aug. 2-4. Shows on Fridays and Saturdays start at 7:30 p.m. and Sunday matinees start at 2 p.m.

Tickets are $8 for students and children ages 4 to 18 and $12 for adults. Tickets can be purchased at Dogwood Diner, the Palestine Area Chamber of Commerce and Education Unlimited. Tickets also can be purchased online at www.outhousetickets.com.

The Texas Theater is located at 213 W. Crawford St. in downtown Palestine.

Annie get your Fun

PCT (Palestine Community Theatre) is in its second week of performances on the musical "Annie" starring the amazing Hannah Weber in the title role.  She is a phenomenal new talent at PCT.  Her powerful voice, beautiful face, and, dare I say, pure spirit really brings the character to life.  Jim Vincill brings his usual joie de vivre to the role of Daddy Warbucks.  Just the right amount of bluster and heart that works as a counterpoint to Annie's sweetness earnestness.  There are many standout performers- scene stealers and stage troopers alike- but I'll keep to an overall look at the show.  It has fine music, good acting, and one of the strongest children's choruses we've had in a long while.  The characters flow with the music and the sets support the story- not so much standing out as disappearing into the reality of the emotions, as a set should.

The first weekend was sold out.  I'm thinking there will be many repeats of that for the next two weekends.  It is well deserved.

Annie part 2

We ran the show today, with music and set changes.  As expected it ran a little rough.  First run-throughs are like that most of the time.  It will help when everyone is there.  I have been in shows before where we didn't have the entire cast together at the same time until dress rehearsal week.  Nerve wracking, to say the least.  I hope this isn't one of those shows.  It is time for us all to knuckle down and be "present" in many ways.

[BTW- You may have noticed that I have deleted the post with the cast list for "Annie".  I did this today.  The cast has changed, and it's not really necessary to be posted here, so...gone.]

Annie part 1

The next show at Palestine Community Theater will be "Annie, the musical".  It seems to be coming together just fine.  It was my intention to lay off from this show.  Then I said I would pull curtain.  Then I agreed to a small part.  Thankfully the part has remained small.  Everyone seems to be working really hard and practicing what they need to practice.  Showtime in a month or so.  It's actually kinda nice to be involved in the periphery of a show without needing to be in the thick of it.  I can be a minor character and rope puller without having to make any decisions for anyone else.  I show up, do my part, go home.  I can do this and still get some rest over the summer.

I think the set design is really good.  It's functional, easy to change, and versatile.  It doesn't draw too much attention to itself, allowing the actors and music to become the focus.  Good job!  This will be one to watch.

Leggo my Ego!

I have a what is commonly called a "Big Ego".  I have to admit that.  "Hello my name is John, and I have a swelled head ego."  It's true.  Everyone can see it.  Can't deny it.  Done.

On the other hand, I have never stormed out of a show, nor caused others to storm out of a show because I didn't get the part I wanted, even when "I am CLEARLY the best choice for the role.  That director has his/her head up their butt.  It's unfair.  It's all because..." pick you own next line.  Casting (and acting in general) isn't always fair.  Great actors sometimes get overlooked for roles.  Rotten actors sometimes get roles.  Sometimes the right actor gets just the right role at the right time, then breaks their leg.  We all think we know best.  Lots of actors and their buddies get together after auditions and predict the cast (and then choose their perfect cast) afterwards over coffee, sodas, or adult beverages.  It's a time honored tradition.

The problem arises when we, as actors forget that the director IS IN CHARGE.  We forget that they must choose not only on acting ability, but who looks good together, blends voices well together, looks the right age or archetype.  Sometimes it's about non-acting issues.  Sometimes, yeah, it's because the actor knows a guy that knows a guy that knows the director.  It happens.  It's real.  It's part of the gig.

Sometimes we choose to step aside if we aren't offered a role that is worth the commitment in time and energy.  Okay, but remember-

Acting is rejection.  That's a quote from someone...I wonder who I heard it from.  Hmm.  But it's true.  If you are going to be an actor, you will experience rejection.  It is how you handle that rejection that partly defines you as a performer.  You have some choices:

1. Take it like a pro and accept either what was given or gracefully move on if nothing was offered.
2. Take it like a pro and walk away from an offered role you don't feel right for, again, gracefully.
3. Take it on the chin and let it knock you out, depressing you for days, and making you doubt performing at all.
4. Take it like a child and yell and scream and throw a fit for all the world to see so that everybody feels your pain with you.
5. Involve your friends in #4.
6. Make accusations of favoritism, casting couch, bribery, or other skulduggery based on no more evidence than your bruised ego.
7. Do like several now ex-actors have done in the past and try to sabotage the show somehow, through negative publicity or comments, or actual physical sabotage.
8. Physical harm to casting directors or directors or the guy that got the part.

Which of these choices are yours?  How do you wish to be remembered the next time auditions come around?  What price reputation?  How fragile your ego?

Ghosts, the Musical is a Hit

I have seen "Ghosts" twice now.  It lost nothing in the repetition!  This is an amazing show for the whole family.  It is a perfect fit for the Texas Theatre in Palestine, Texas, USA.  It is the story of an old and decrepit theater that was inherited by a young woman who cannot pay the back taxes, let alone refurbish to old palace of the stage.  When a greedy developer plans to snatch it up for the taxes, tear it down, and build a mini-mall on the site, drastic measures are required.

Enter the ghosts of a hundred years of theater magic.  They've come back to save the theater.  The resulting performances with style, close harmony, and wonderful dancing will enthrall you.  Only one more weekend to see it; April 5, 6 (7:30), and 7th (2:00) 2013.  Saturday's performance will have a reception beforehand welcoming the show's author to the performance.

I'm...re..viewing...the situation...

I'm rethinking the film contest idea.  With 48 Hour Film Project an annual event in Dallas, Houston, Austin, and possibly San Antonio, I'm not sure another similar, but less prestigious affair would be well attended.  Maybe it will.  Maybe it will attract those novice filmmakers who want to get their feet wet without the pressure of the Big Time of Little Films.  Just thinking on the keyboard.

Summer Solstice Film Festival

Had an idea.  (Always a dangerous thing.)  I was thinking about starting up a summer solstice film festival competition.  It would be the kind where the film-makers get the topic on Thursday night with the finished video due to the jury on Saturday morning.  The top ten jury selected films are then viewed in the theater on the big screen.  The audience then votes for the final winner.  None of that is very original.

The screenings would be at the "Historic Texas Theatre" in Palestine, Texas- one of the old movie palaces from the 30's that's been 90% restored.  It would be on the weekend nearest the summer solstice each year. The films, like every other festival, would be seen on the festival website for one year. But part of the prize would need to be a viewing beyond that.  Maybe get Time Warner Cable to play the top 3 across their networks.  Maybe something else.  The contest would need to be sponsored, of course, and physical prizes would need to exist.  I have some ideas on that, too.

Could even try to get local hotels to give a half-price discount to the film teams.  There should also be a real party afterward with a "select" crowd.   Lots of things to consider.  Think I should go ahead and get the website address just in case.

Halo? Statue? Yeah, dat's me.

Oscar time is here.  A celebration of movies by the people who make them.  It's a night of self-congratulation turned into a money making franchise monster.  Originally, is was a banquet for the show people.  Snippets might appear in a newsreel, but that was about it.

Don't get me wrong...I love the Oscars.  I'm a SAG member and root for my picks.  I (sometimes) even like the spectacle that follows along with it.  Billy Crystal was my favorite host, but his humor is a little tired now. The problem I have now is how the winners are selected.  You could give the greatest performance in the history of cinema and not even get nominated.  Or you might lose because it was a comedy-farce without the gravitas that Oscar loves.  You could be a great director who brought a difficult story winningly to the screen, yet not get nominated while your film and its actors are (aka: the movies that direct themselves).

No.  The public shouldn't get a vote.  They already voted with their $$$.  But I do think the entire membership should vote, and vote for anyone they want.  The ones with the most votes win.  Cue closing credits.

More than a Ghost of a chance-

I stopped by rehearsal for the new musical production at the Texas Theatre in Palestine the other day while they were rehearsing music.  This is going to be a great show.  Well cast, as Sandy always does, and well balanced in voices.  I'll stop by this weekend and see more.  I'm hearing great things.

Le Miserables: the movie

I sometimes cry at movies.  Yes, I'm a straight man in his 50's who cries at movies occasionally.  Sue me.  I cried at the movie "Les Miserables".  I thoroughly enjoyed it.  Was it like going to the stage production? No.  Was the singing perfect? No. Did I have a moving time? Yes, absolutely.  I think what hampered the singing is one of the things I liked.  By now pretty much anyone who cares knows that the singing was not done in studio and then lip-synced on set; all the singing was done live on set with a live piano playing through an earwig in the actors' ears.  It followed them, allowing for acting and emoting instead of worrying about staying with the soundtrack.  I liked the effect.  The costumes and sets were amazing.  I did really like the homage to the stage version in the finale/reprise by using the "barricade wall" with the flagged mast.  Nice touch.  Another nice touch was having many of the cast be veterans of the stage production, including the original Jean Valjean, Colm Wilkinson as the Bishop.  Were there flaws? Yes.  Am I flawed? Yes.  Did I see it twice? Yes.  Do I recommend it? Oh Yes!