Nothing On

This is the final tech week for 'Noises Off' which opens this Friday at Phoenix Theatre.

The process has been a collection of paradoxes and opposites, being both overwhelming and effortless at the same time.
My role is not as demanding as most of the ensemble in the sense of physical exertion or lineload, but this is most definitely an ensemble play with each role independent on even the most minor interactions between characters. And the cast is brilliant.

Our Dotty Otley is played by Cathy Dresbach, a veteran of the stage and an icon to those of us who grew up with the Wallace and Ladmo Show. (Jodie of the Pink Berets, anyone?) Not only an amazing character actress, but an amazing dramatic actress, and just a generally cool cat. She's just amazing to watch.
Then there's Robbie Harper who directed me in The Will Rogers Follies back in 1999-2000 and choreographed me numerous times and with whom I just did Curtains at Phoenix Theatre.
In addition, I get the chance to work with Chris Williams and Maren Maclean who were both mentors in my first show with Southwest Shakespeare (Julius Caesar in 2001-2002).
This will be my third show with the formidable Joe Kremer... the first, we don't really speak of and the second we speak of all too often...
And after joining forces in Tartuffe at Southwest, Leeann and I are getting the chance to spread our combined wisdom backstage once again with LeeAndi Relationship Consulting Services. (Though we are lacking our beloved intern, Pete Good.)

This is my first time working with Matthew Weiner (Artistic Director for Actors Theatre) as our director as well as with Mike Lawler and Luke Young.

Working with Matthew has been challenging, but has also honestly been a blast. He's an actor's director, in my opinion, bringing specificity when it's needed but also allowing the actors a certain amount of freedom of interpretation and expression. He brought along David Vining as our dialect coach and I could honestly sit and listen to that man do dialects for hours. His ear for nuance is just uncanny.

And both Mike and Luke have been awesome to work with... both funny and giving actors that I'm really enjoying working with.

So yeah... it has been a great experience. Tech had its tense moments as all tech weeks do, but we made it out alive and everyone is still speaking to each other! (Though the sardines are a bit worse for the wear.) It's your typical bedroom farce with just about everyone losing their pants at some point and some pretty intricate prop juggling... not to mention a set that is pretty damned incredible. Every time I think about it, there's something else to get giddy about. (Forget that the soundtrack could have come from my own ipod!)

I'm so excited to finally get this show up and rolling, but I know I won't be ready for the run to end. It's a great crew, a great show and a great production. There's just something satisfying about the run of a good, solid comedy. As much as I love (and admittedly miss) my Shakespeare, I love my comedies and musicals. There are different levels of focus and intensity required for each of those three genres... and sometimes musicals and comedies seem to flow a bit easier through my veins. I'm not saying that they take more or less work... but it's a different kind of work... and it's the kind that doesn't always feel like work to me. I don't know if that makes any sense whatsoever, but hey... it's early in the morning during tech week, so don't expect me to make a whole lot of sense right now. I'm sleep-deprived and over-caffeinated!!

Also, if any of my peeps are reading this and want to see the show but don't think you can afford it, I have an 'arts card' that is reusable and good for 2 rush tickets at $10.00 each. You can only use it at 15 minutes prior to curtain, so it's not good for reserved seats... but there aren't really any 'bad' seats in the theatre, so it's worth it if you end up with a friend and a free night. Just call or text me and I'll hook you up. :)