daddy’s dyin’ … orville’s rehearsin’

The last play I was in was “It’s A Wonderful Life: The Radio Show” over the holidays. But when I first saw a notice for auditions for “Daddy’s Dyin’ … Who’s Got The Will?” at the Fly Arts Center, I didn’t even think about auditioning.

You see, production dates were in late September – and I was planning on taking a mission trip in early September, right when some of the most intense rehearsals would no doubt be taking place. It would simply not be possible to prepare for, and do justice to, a play and a mission trip in the same short period.

Then, last Tuesday, the mission trip got put off until some undetermined time in 2015, due to the current Ebola outbreak in Liberia. Please continue to keep the people of West Africa in your prayers.

Then, I saw a notice for one last audition for the play, this past Sunday. It was already a busy weekend for me, what with judging two chili cookoffs and attending a church ice cream social. But I figured I might at least go and try auditioning for the play.

I have gotten the part of Orville.

The play, by Del Shores, is a family comedy set in Texas. Buford Turnover (who will be played by my Times-Gazette co-worker Martin Jones, with whom I’ve worked several times before) has suffered a stroke, and isn’t expected to live long. The various family members come together, and immediately start getting on each other’s nerves and (as the play’s title indicates) looking at the impending death through the lenses of self-interest. The humor is a little like the “Mama’s Family” segments on “The Carol Burnett Show” – back-and-forth insults and over-the-top portrayals.

The play was made into a 1990 movie featuring Beau Bridges as Orville. I have not seen this, and I do not want to see it until after our production.

This will be a new experience for me. Although I haven’t read the full play, and won’t get my book until some time tomorrow, the description of Orville at the publisher’s web site, and the scenes I read during the audition, make it clear that Orville is the least-likable character I’ve ever played. He’s a redneck garbage collector, kind of mean, mean to his wife and to the other family members gathered together at their father’s bedside. Now, I believe that all of the characters get at least a little redemption as they come together at the end of the play, but this will still be quite a different experience from any role I’ve played before. It’s a good challenge for an actor.

I have to find the humanity in Orville, and the playwright is clear about the fact that he considers these to be rounded characters, not stereotypes, so hopefully he’ll give me something to work with in that regard.

There is a little language in the play – the worst thing I heard in Sunday’s excerpts was a four-letter term for excrement.

As I said, T-G printing press operator Martin Jones plays the family patriarch, Buford. Since I had only Sunday’s auditions to go by, I thought I was competing with Martin for the part of Orville. But Martin wanted the part of Buford and had already read for it extensively at the earlier auditions. I told Martin today that since I played his father in “Come Blow Your Horn,” it’s only fair that he should now take a turn playing my father.

Retired T-G editor Kay Rose is also in the play, in the part of feisty Mama Wheelis. Kay has been in a number of local theater productions but I’ve never been in a play with her before, so this will be fun as well.

Production dates are: September 19, 20, 26 & 27 at 7 p.m. and September 28 at 2 p.m. All performances will be at the Fly Arts Center, just off the square in Shelbyville. You can call 931-684-8359 or visit The Fly Arts Center Monday, Tuesday or Thursday from 11 a.m. – 4 p.m. for tickets.


road trip

OK. I had a really crappy first part of the week. There was a special event that I wanted to attend – and thought I deserved to be able to attend – and I couldn’t go because I couldn’t afford it. And I was primarily mad at myself, but also projected some of that anger onto a couple of innocent people who I (narcissistically) thought should have been more concerned than they were about my absence, perhaps to the point of calling me about it and getting me to admit the back story.

But if the first part of the week was a low point, this weekend more than made up for it, and exorcised the demons that had been plaguing me.

Here’s the back story:

Many years back, when my brother Michael was single and living in the Dallas area, he starred in a production of “Harvey” which, by sheer coincidence, opened on his birthday. Mom, Dad, my sister and I drove down secretly, watched the play from the back row, and then surprised him afterward. It’s been a beloved family story ever since.

Mike is now married, has two kids, and lives in Fayetteville, N.C. He’s gotten back into theater lately; he was supposed to be the lead in a big production last summer but broke his foot. This summer, he played Leonato in “Much Ado About Nothing” and also had a part in a comedy called “A Company Of Wayward Saints.” Dad wanted to go and surprise Michael again the way we surprised him in Texas. So we’d been making plans for the trip for some time, without telling anyone in North Carolina.

Then, a week or two ago, Mike called my father. My gifted nephew had gotten a chance to go to Space Camp, in Huntsville, Ala., at the last minute and at a deep discount. Mike and Kelly had decided that Kelly would drive the boy down (since Mike would be busy with the play) and then Mike would drive down a week later, after the play had closed, to pick him up. Mike asked Dad if it would be all right for Kelly and the boy to spend the night with him on Saturday, June 14.

That’s right; of all the days in the year they might call and ask to stay at Dad’s house, they picked the night when Dad, and the rest of us, planned to be in Fayetteville, N.C.

Dad covered quickly, telling Michael that he and Ms. Rachel had already made plans to go out of town that weekend (true!), but that Kelly and the boy were more than welcome to use his house while he was gone.

A few days later, we surreptitiously got in touch with Kelly and filled her in on what was really going on.

Friday, Dad, Ms. Rachel, Elecia and I got an early start and made it to Fayetteville by about 5:30. We had originally hoped to catch Michael before he left for his Friday night performance, but we missed him. When we pulled up to the house in Fayetteville, no one was home. Kelly and the kids were out shopping, and Mike was already at the theater. We returned a little later to see Kelly and the kids, while Mike was taking the stage.

Later that night, after Mike’s Friday night performance, Kelly got him to call my father and Dad revealed that we were, in fact, in Fayetteville. Mike was genuinely surprised and now says he’ll never trust any of us again.

The next morning, Kelly and the boy made a very early start for Tennessee. We spent a pleasant day seeing the sights of Fayetteville with Michael and the girl. In the afternoon, we had a little down time, and I got to relax in the Days Inn pool, which I had pretty much to myself. Then, that night, with the girl in the hands of a babysitter, we went to the play.

I found it wonderful. “A Comedy of Wayward Saints,” by George Herman, is a terrific play, and the Gilbert Theater cast, including my brother, was terrific. It starts out as a wacky comedy about a commedia dell’arte troupe trying desperately to impress a nobleman who can give them the money to get home. But in the second act, the wacky comedy gives way to a warmer but still light-hearted exploration of the nature of humanity. I thoroughly enjoyed it.

This morning, we started the nine-hour drive home, arriving about 4 p.m. Shelbyville time. Kelly, meanwhile, dropped the boy off in Huntsville at noon today and then headed to Fayetteville from there – no telling if we crossed paths at some point.

It was a great trip, a great play, and a great chance to spent some time with the family over Father’s Day weekend.

Schedule update

posterOK, I’ve finally gotten with my Times-Gazette co-worker Martin Jones to figure out who’s doing what dates of “It’s A Wonderful Life.”

If you’re interested in seeing me in the show, I’ll be doing four of the currently-scheduled dates:

  • Saturday, Dec. 14, at Mel’s (7 p.m.)
  • Wednesday, Dec. 18, at Fair Haven Baptist Church (6:30 p.m.)
  • Thursday, Dec. 19, at Mel’s (7 p.m.)
  • Saturday, Dec. 21, at Community High School (7 p.m.)

Martin will be playing our shared parts at two other performances:

  • Tuesday, Dec. 17, at Fair Haven (6:30 p.m.)
  • Sunday, Dec. 22, at Community High School (2 p.m.)

A few additional performances may be added after the first of the year.

Remember, you don’t need tickets for any performance, and there’s no admission charge, but please come prepared to make a donation to the Friends of Mandy Jean fund.

Opening night

I’ve had an irritated throat, a lot of drainage and even an irritated tongue (as if I’d burned it on something) for the past day or two. I feel fine otherwise, so I’m sure it’s just allergies (or perhaps some weird reaction to my flu shot on Wednesday). I’m about to have some blueberry herbal tea with honey. The last thing I need is to have a scratchy throat tonight.

I took a vacation day today – not only because of the play tonight, but to manage some days I’d built up when I thought the Sierra Leone trip was going to be in December. I need to check and see if I’m close to the limit of vacation days we can carry over from one calendar year to the next.

We will take walkups on any night if space is available, but your best bet is to call 931-247-3481 and make a reservation. Shows are tonight and tomorrow, as well as next Friday and Saturday, at Mel’s (next to the Capri Theater on Depot Street). It’s going to be a very funny play.

Party hearty

Well, we had pickup rehearsal* tonight. One of our key cast members was absent – he was trying out for “Camelot” in Woodbury – so I got to read his parts. I particularly loved being the announcer, and Mr. Potter.

The restaurant is closed on Mondays and Tuesdays, but the staff was having their holiday party tonight at one end of the restaurant while we were rehearsing on the other end.

We discussed some revisions to the script and then began our rehearsal. We made it through the first act and had started on the second when we took a little break to celebrate the birthday of Keith Wortham, one of our castmates. We had a giant birthday cookie. We were just finishing up when the restaurant staff told us they had plenty of extra food – cheese balls, dips, crackers and the like – and would we like to help ourselves?

We joked about having eaten dessert first, but most of us didn’t turn down the free nosh.

While we were enjoying ourselves, the restaurant staff took the chance to take the dance floor (most of the tables in front of our stage had been moved out of the way; they’ll be put back in time for the next performance on Friday) and do a routine.

Anyway, by the time they’d wrapped up, we were worrying about moving our sound effects table into position. By 9:15 or so, it was pretty clear we weren’t going to get back to practice. But that’s OK. I think we’ll do just fine.


*Pickup rehearsal is a rehearsal in between weekend performances, to keep yourself sharp, work on any problems that revealed themselves during the first few performances, or what have you. Sometimes, pickup rehearsals aren’t taken very seriously, and cast members take the chance to do their parts in funny voices, walk onto stage in funny masks or costumes, or otherwise try to break up their castmates. We didn’t intend to make this that kind of pickup rehearsal, however; our intent really was to work on the play, since we’d had an abbreviated rehearsal schedule prior to our first performance.

Noises Off

The last time my out-of-state brother and sister-in-law came in for a visit, Mike loaned me their DVD of “Noises Off.” I’ve never seen either the play or the movie; I’ve had several community theater castmates talk about a production they did a few years back in Tullahoma.

Anyway, I hadn’t gotten around to watching the DVD until tonight. It’s wonderful. The 1992 movie got some poor reviews – Siskel and Ebert both gave it thumbs down – but I found it hilarious. And what a cast! Michael Caine, Carol Burnett, Christopher Reeve, John Ritter, Marilu Henner, Mark Linn-Baker, Julie Hagerty, Nicolette Sheridan and Denholm Elliott (Indy’s boss Marcus from “Raiders of the Lost Ark” and “Indiana Jones and the Last Crusade”).

The movie, like the play, is the behind-the-scenes tale of the first American stage production of a teasingly-bawdy British farce. (Sheridan spends much of the play-within-a-play, and thus much of the movie, in her underwear.) We see how the various jealousies, conflicts and alliances among the cast members wreak havoc on the production – and since the play-within-a-play/movie is a farce, dependent on exact timing and the placement of various props, havoc is easily wreaked.

For the first third of the movie, we see the action on-stage, at a disastrous dress rehearsal which is interrupted periodically by the exasperated and increasingly-sarcastic director (Caine).  We’re introduced to the play-within-a-play and understand some of the transitions that have to be made and how things would fall apart if they didn’t happen smoothly.

The middle third of the movie takes place during a production on the road in Miami, and in this case we see all the action from backstage – as various jealousies and misunderstandings have the cast feuding. Since talking isn’t allowed backstage, much of this is mimed, as we hear the muffled onstage dialogue in the distance. This middle third is brilliantly staged and blocked physical comedy, with cast members weaving and bobbing around. There’s some wonderful business with a liquor bottle which the cast is trying to keep away from Elliott’s character, a British actor past his prime and with a weakness for alcohol.

Then, the last third of the movie takes place during a later production, in Cleveland. We move back in front of the stage. Cast relationships have gone even further downhill, with hilariously-catastrophic results onstage.

Of course, one of the reasons that my brother likes the play, and that he knew I would like it, is that we’ve both done community theater. Maybe it wouldn’t be quite as funny if you don’t have that background. But give it a chance anyway.

It’s sad to watch the movie now and think that neither Reeve nor Ritter is with us. Also, it was Elliott’s last film; he died in 1992, the year it was released, which is why he wasn’t in the last Indiana Jones film.

Theater of the mind (brought to you by Lady Esther cosmetics)

As I explained yesterday, I’m going to appear in a play which tells the story of “It’s A Wonderful Life” as it would be presented on old-time radio. Actually, movies and radio scratched each others’ backs during the golden age. If you’ve ever read the trivia pages for old movies on the Internet Movie Database, you’ll note that many of them were turned into radio plays, using the top two or three stars from the original movie, surrounded (I presume) by the type of versatile radio utility players we’ll be channeling on stage.

IMDb says that there were, in fact, two such adaptations of “It’s A Wonderful Life,” both broadcast in 1947, not long after the movie was in theaters.

I was looking up old radio shows online – there are plenty, at sites like The Internet Archive, and the Old Time Radio Network. I haven’t found “It’s a Wonderful Life” yet, but I’m right now listening to another Jimmy Stewart classic: “The Philadelphia Story”, in a 1947 Screen Guild Theater adaptation with Stewart, Katharine Hepburn and Cary Grant in their original roles. The story is quite condensed – into a 30-minute radio show! — which works just fine for the audio format, although it requires some clunky exposition, both as dialogue and from the announcer at the beginning of each act. This seems to have been produced in front of a live audience. It’s one of three different radio adaptations mentioned by IMDb; the other two were 60 minutes in length, one with Ruth Hussey and Virginia Weidler in addition to Stewart, Grant and Hepburn, the other with only Stewart from the original cast.

In those days, of course, once a movie left the theater it was gone – the very biggest hits might possibly be rereleased, but everything else disappeared into the vaults once it ended its original run. There were no TV broadcasts, no DVDs, no way to re-view something you’d enjoyed seeing on the big screen, or catch up with something you’d missed. So these radio adaptations were, in their day, a nice bit of instant nostalgia, as well as a way for stars to promote themselves and their upcoming projects. The Screen Guild Theater adaptation of “The Philadelphia Story” ended with mentions of where you could see each of its three stars in current screen projects: Stewart’s current project at the time was … wait for it … “It’s A Wonderful Life.”

I have, on cassette tapes, the adaptation of the original 1977 “Star Wars” movie which was done for the BBC with Mark Hammill and Anthony Daniels reprising their film roles. The BBC approached George Lucas for permission and he agreed, but only if his alma mater USC was involved in the production. This was done as a serial, and actually includes scenes which were cut from the movie, emphasizing young Luke Skywalker’s admiration for, and later reunion with, Biggs, a neighbor on Tattooine who joins the rebel alliance. I haven’t listened to it since I originally bought it (I also heard it on public radio when it first aired in the 1970s, perhaps the first public radio I ever listened to). I need to break it out and give it a listen.

Dramatis personae

I’m going to be in a play over the holidays. I can tell you what; I just can’t tell you where.

OK, to bring the story up to this point: I’ve enjoyed occasional participation in community theater, and last spring, I played the lead in “Cash On Delivery,” at the Fly Arts Center in Shelbyville. It was the first time I’d ever had a solo lead part, and a huge one at that, but I had a great time, with terrific castmates and a great director.

This fall, some of those same folks formed a new theater group, the South Of Broadway Players, not so much to compete with the existing group at the Fly as to offer a more flexible and democratic alternative. A few people are already participating in both groups, depending on what they’re interested in trying out for and their personal schedules. I did not try out for the group’s first play, “Here’s Killing You, Kid!”, because the timing wasn’t right. But I was excited about the new group. I attended one of the organizational meetings.

“Here’s Killing You, Kid!” was presented as a dinner theater at the Duck River Restaurant in Shelbyville, with one final performance at a restaurant in Normandy. The Duck River Restaurant was, I am told, delighted with the production, and it did good business. The SOBs (and, yes, we’ve embraced that acronym) hoped that the Duck River Restaurant could host several such performances throughout the year, and then the group might also do a more traditionally-staged production at some point, perhaps using a school theater over the summer or what have you.

The next SOB production will be “WSOB Presents: It’s A Wonderful Life.” This is one of two similar adaptations of the beloved holiday movie in the form of an old-time radio show. Instead of using sets and costumes, a small group of players performs the play on a stage set up to look like a radio studio. Each cast member does numerous characters, and there’s a sound effects man over to the side producing sound effects, with occasional help from other cast members. Little or no memorization is required, because everyone is reading from scripts, just as radio actors did. Part of the fun is seeing the same actors doing different voices, sometimes even having conversations with themselves.

We had auditions last weekend at the Duck River Restaurant. I enjoyed reading the parts and looked forward to the play. Production dates had been set and announced, with performances to take place right before Christmas and during the dead week between Christmas and New Year’s.

Then, a day or two later, the restaurant announced it would go out of business after one last music event this coming weekend. So now, the SOBs have the rights to the play, and a cast, but nowhere to perform it. Our director and producer are scrambling to find a suitable and available space.

Anyway, I got formal notice today that I’d been picked for the cast. I don’t know yet which characters I’ll be doing.

I’ll let you know as soon as performance details have been nailed down.

Here’s Killing You, Kid!

Several of the people with whom I worked on “Cash On Delivery” earlier this year – Wes Campbell, Dianne Clanton, Times-Gazette pressman Martin Jones and Sharon Kay Edwards, whom I motorboated every night as part of the story – are part of a dinner theater production, “Here’s Killing You, Kid!”, which will open Friday at the Duck River Restaurant in Shelbyville. It’s the first production of a new theater group, the South of Broadway Players, about which I’m very excited. I didn’t try out for this play, but I definitely plan to be a part of some of their future productions.

Anyway, I covered the dress rehearsal tonight so that I can write a first-person column about it for the newspaper. It’s a fun show – broad and silly, in a good way, and ideal for the dinner theater setting. It’s a murder mystery, centered around the mysterious “Majorcan Monkey” (think Maltese Falcon). And Sharon, an incredible vocalist, gets to sing. (She also has a concert coming up this month.)

Wes is directing and playing a part, just as he did for “Cash On Delivery.” He’s great to work with.

I love live theater, and I’m delighted that the South of Broadway Players are bringing a second option for community theater to town. The SOBs (and, yes, the group is playfully celebrating that moniker) hope to be a democratic, member-driven organization, giving a platform to people who have a specific project they’d like to direct. They’ve got a good relationship with the Duck River Restaurant but would also like to do traditionally-staged plays as well.

Anyway, if you’re in the area and looking for a nice evening out over the next few weekends, call Duck River Restaurant and make a reservation. I think you’ll enjoy it.

Closing night

A little more than three hours before our closing night performance of “Cash on Delivery.” Last night was incredible, even before you factor in the circumstances. Our two last-minute cast members did an incredible job — and since I mentioned cheats in my blog post yesterday, let me stress that neither of them used or needed any sort of onstage cheat. Everyone else rose to the occasion brought their “A” game as well. Plus, even though our crowd was down a little due to weather, they were extremely responsive and picked up on some jokes the previous two audiences had missed. Our sound man, Stanley Green, said it was the best performance we’d given so far.

I’m at work this afternoon, and our Saturday routine is sometimes one of hurry-up-and-wait. I’ve tried to find ways to be productive, but now I’m itching to get out of here, eat a quick meal and head for the Fly.

We’re having a cast party after the show; I wish I’d had time to make something, but I’m bringing chips and dip — sadly, not my homemade caramelized onion dip.