New beginnings (well, you see where it could go from there...)
Well, the show's over, so this is, I think, the last time I'll be using my official Dik and Jayne are Not the Same LJ icon (pictured).
I don't know what to replace it with; I guess I'll keep it for a while, until I have another "current project".
And speaking of which, I just got an E-mail yesterday (what timing) from oobr.com about the 4th Annual Midtown International Theatre Festival. They'll be accepting submissions until January.
They seem a little nazi-ish... And I assume that it won't conflict with the Fringe Festival,, but I don't know for sure.
Also, I don't even know what I want to do next; should I do another production of Dik and Jayne, or do something new?
Sleeping in Tomorrow is still waiting (and screaming) to be done, but I'd like to have a really good set for that (or at least a realistic window)
Eternity: Time Without End would be relatively setless, but requires 12 actors and an 8-year-old kid.
Sweet was intended to be easy (4 actors, simple sets), but I don't, somehow, have the same passion for it right now.
Plus, I need to finish writing Lights of the City; I'd hoped to do it for Fringe this year, but I don't think I'm ready to produce a full-scale musical by myself. Maybe I can finish it this year and premiere it next year, after readings (possibly with Dave's help at DeBaun), etc... (and, of course, after I win the Pulizter Prize for drama, and have lots of money).
I've been thinking I'd like to organize some work-in-progress readings of my plays. Maybe just with my friends, take some space at 8th ave. studios, and just hear the plays. I caught so much stuff I didn't expect just at the first read-through of Dik and Jayne...
I was just re-reading Sleeping in Tomorrow, and it's an incredibly complicated play. I love it, it's amazing, but we're going to need some seriously "acting-is-the-crack-I-need" goodactors. I wish I could pay people for my shows.
I don't know what to replace it with; I guess I'll keep it for a while, until I have another "current project".
And speaking of which, I just got an E-mail yesterday (what timing) from oobr.com about the 4th Annual Midtown International Theatre Festival. They'll be accepting submissions until January.
They seem a little nazi-ish... And I assume that it won't conflict with the Fringe Festival,, but I don't know for sure.
Also, I don't even know what I want to do next; should I do another production of Dik and Jayne, or do something new?
Sleeping in Tomorrow is still waiting (and screaming) to be done, but I'd like to have a really good set for that (or at least a realistic window)
Eternity: Time Without End would be relatively setless, but requires 12 actors and an 8-year-old kid.
Sweet was intended to be easy (4 actors, simple sets), but I don't, somehow, have the same passion for it right now.
Plus, I need to finish writing Lights of the City; I'd hoped to do it for Fringe this year, but I don't think I'm ready to produce a full-scale musical by myself. Maybe I can finish it this year and premiere it next year, after readings (possibly with Dave's help at DeBaun), etc... (and, of course, after I win the Pulizter Prize for drama, and have lots of money).
I've been thinking I'd like to organize some work-in-progress readings of my plays. Maybe just with my friends, take some space at 8th ave. studios, and just hear the plays. I caught so much stuff I didn't expect just at the first read-through of Dik and Jayne...
I was just re-reading Sleeping in Tomorrow, and it's an incredibly complicated play. I love it, it's amazing, but we're going to need some seriously "acting-is-the-crack-I-need" goodactors. I wish I could pay people for my shows.