So much for blogging about "Mortal Terror, as I promised. The time between then and now just vanished.
So: We closed Sunday, it was quite fun.
Some backstage impressions:
Formula for exiting the stage at the Modern:
1. Exit to wings.
2. Heavy door #1 (do not slam!)
3. Heavy door #2 (see above)
4. Heavy door #3 (ditto)
5. Descend flight of stairs #1
6. Descend flight of stairs #2
7. Heavy door #4
8. Heavy door #5
9. Whew! You've made it to the dressing room, and it only took 15 minutes! But now it's time to run back up again, because that's your cue on the monitor! Yikes!
10. Repeat. I think I lost about 3 pounds running up and down those stairs.
Shared the ladies dressing room with Georgia. (As the only gay guy in the cast, I guess I was sort of an honorary lady!) Georgia could care less: we'd seen anything we might see during Nepenthe, where the four of us shared a dressing room the size of a postage stamp.
My Guy Fawkes beard was made with real human hair, which was really scraggly and sort of freaked me out. It was like wearing a Brillo pad on your face. One performance the strap holding the beard was too loose, and my moustache kept falling into my mouth whenever I spoke. I kept holding my hand to my chin during the scene, like I was listening really hard to Catesby's plot.
I thought I was liberal until I met Stafford Clark-Price, who makes me look like a venture Capitalist. (He's the one who told me about the Great Pacific Garbage Patch, among other hair-curling items). He's awesome.
You can play human bocce ball using the wheeled hassocks in the green room.
I drank a lot of coffee during this run. I mean, a LOT. Jerry Kissel makes coffee like rocket fuel. We were all bouncing off the walls.
I somehow cast "The Balcony" and rehearsed/opened Mortal Terror at the same time.
Some of my former Suffolk students were our back-stage crew, that was fun!
The peanut butter brownie next door at Common Grounds is to die for.
It's really hard to get around on your bike downtown.
That's it off the top of my head. It was fun being in a new play. I love new plays. They're like this rare, almost extinct species in Boston.
Actually, right now, plays - new or old or otherwise - are pretty rare: everything is a musical. It feels like Spring! New Rep did Rent, Lyric is doing Big River, ART is doing Porgy and Bess (which I managed to see: marvelous singing) and Huntington is doing Candide (which I'm seeing tonight), Gold Dust Orphans are doing Rocky Horror at Oberon.
I better learn how to sing quick!
Meanwhile, ASP has opened 12th Night (which I can't wait to see sometime this week!) and my good friend David Gammons has directed the world premiere of The Farm at BPT. (BPT is responsible for pretty much all new plays being born here. I'm not sure what we would do without them.)
I start rehearsing The Balcony next week at the Boston Conservatory, where I work. I would love to say that I'll blog about the whole experience. I'll try. It would be fun.
But then the time disappears...