A return to work upon the pair of plays I have been writing, Blue-beard, Parts I & II. I am further along with the second part than I am with the first. I am viewing them as very different plays in that their respective worlds are mixed somewhat differently in terms of what forces are dominantly portrayed as having sway. The first shows earthly forces excercising a kind of victory over spiritual, then the second shows the emptiness of such a world driving spirit to the test. Seeming and Being. I would like them to be complete by the End of the Summer. We'll see. Already thinking about casting as I write, which is a good thing, I think. When I wrote my last full-length, I wrote three parts with specific actors in mind, and those actors excelled in their eventual manifestations of the roles thus written, so...
At any rate, it helps me to visualize as I write, which makes the writing come faster.
At the very beginning stages of rehearsals for Ian W. Hill's adaptation of The Magnificent Ambersons, which will go up for four days in June for "The Film Festival: A Theatre Festival" at the Brick. We will screen the version that the Studio released this coming Monday at the Brick.
In the past month I saw The Optimist, Hooray For What?, Di Ksube (The Marriage Contract), Tristan und Isolde, Hiroshima: Crucible of Light, The Taste of Blue, and The Boy That Wanted to Be a Robot.
At any rate, it helps me to visualize as I write, which makes the writing come faster.
At the very beginning stages of rehearsals for Ian W. Hill's adaptation of The Magnificent Ambersons, which will go up for four days in June for "The Film Festival: A Theatre Festival" at the Brick. We will screen the version that the Studio released this coming Monday at the Brick.
In the past month I saw The Optimist, Hooray For What?, Di Ksube (The Marriage Contract), Tristan und Isolde, Hiroshima: Crucible of Light, The Taste of Blue, and The Boy That Wanted to Be a Robot.
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