The Salt Girl Redux

Re-visiting my solo show The Salt Girl for the event below, which is very exciting. 

 

MASSACHUSETTS INSTITUTE FOR PSYCHOANALYSIS, INC. - MIP

MIP SYMPOSIUM What Object Is This? Saturday, November 3, 2012 Registration, Play and Discussions 8:30 AM to 4:30 PM Reception 4:30 Presenting a one man play, "The Salt Girl" Written and performed by John Kuntz Discussed by Ken Corbett, New York Adrienne Harris, New York Roberto Oelsner, Seattle Moderated by Lynne Layton, Boston For social workers, psychiatrists, psychologists, psychotherapists, and licensed mental health care providers with introductory, intermediate, or advanced understanding of this topic

"I don't make lists when I go to the grocery store. Instead, I leave a physical representation of what I need on the counter top. But even then, the new object can never quite match what it is attempting to replace. It can never translate perfectly. And that's why I keep its empty twin." Quint, in "The Salt Girl" by John Kuntz The MIP Symposium presents the novel opportunity to see a one-man play performed by its author, award-winning playwright and actor John Kuntz, followed by discussion led by three prominent psychoanalysts. "The Salt Girl" presents multiple dynamic issues, including the quest for meaning in life after traumatic loss, the use of complex identifications to maintain connection and cope with alienation, and the significance of mundane objects of day-to-day life to represent more profound meanings necessary for life. We will follow Quint, our protagonist, as new events evoke the past, and as he uses what knowledge, memory, and language he has access to in making sense of his life.

About The Salt Girl "I'm not sure I could pinpoint one detail of this thrilling play that could define its perfection, but as my companion and I agreed, we would be forever changed for having seen it...The Salt Girl is masterful." Boston Theatre Review, 2009 "It is an intense, involving, fascinating experience." The Theatre Mirror, New England's Live Theatre Guide, 2009 by Larry Stark ""The Salt Girl'' is a meditation on the power of that big, wounding, and inescapable question: What if? Kuntz explores that question with arresting originality." The Boston Globe, Don Aucoin, November 2009 CLICK HERE TO BE REDIRECTED TO THE MIP WEBSITE TO REGISTER AND PAY

Fee Registration, including reception $120 Psychoanalytic Candidates and Fellows from the following organizations pay $40: The Massachusetts Institute for Psychoanalysis, The Boston Psychoanalytic Society and Institute, and the Psychoanalytic Institute of New England, East Schedule Saturday, November 3, 2012 Registration, Play and Discussions 8:30 AM to 4:30 PM Lunch on your own 11:30AM - 1 PM Reception 4:30 PM Location Fenway Health Conference Center 1340 Boylston Street, Boston, MA Parking There is paid parking underneath 1330 Boylston Street and there are several public parking lots and garages in the vicinity of 1340 Boylston Street. There are also many two-hour meter spots on Boylston Street and visitor parking on the surrounding streets.

ABOUT OUR SPEAKERS John Kuntz has written 14 full length plays. Kuntz's film credits include The Red Right Hand (Roger) and Anathema (Neil; Best Actor Award-Festival Du Cinema du Bruxelles). Kuntz received both an Elliot Norton Award and a New York International Fringe Festival Award for Starfuckers, and his plays Sing Me To Sleep and Freaks! both received Elliot Norton Awards for "Outstanding Fringe Production." His play Jasper Lake received both the Michael Kanin and Paula Vogel National Playwrighting awards, with productions at the Kennedy Center (Washington, D.C.) and the New York Fringe Festival. He was an inaugural Playwrighting Fellow with the Huntington Theatre Company and a Fellow at the O'Neill Center in 2007. He teaches at Suffolk University and is on the faculty of The Boston Conservatory. Ken Corbett, Ph.D. is Clinical Assistant Professor at the New York University Postdoctoral Program in Psychotherapy and Psychoanalysis and an analyst in practice with adults and children in New York City. He lives in New York. He is the author of the critically acclaimed book Boyhoods; Rethinking Masculinities. Adrienne Harris, Ph.D. is Faculty and Supervisor at New York University Postdoctoral Program in Psychotherapy and Psychoanalysis and at the Psychoanalytic Institute of Northern California. She is an Editor at Psychoanalytic Dialogues, and Studies In Gender and Sexuality. She is on the Editorial Board of the Journal of American Psychoanalytic Association. She and Lew Aron edited The Legacy of Sandor Ferenczi and, in 2008, Lew, Adrienne and Jeremy Safran opened the Sandor Ferenczi Center at the New School. Her book Gender as Soft Assembly was published in 2005. Along with Steve Botticelli she co-edited First Do No Harm: The Paradoxical Encounters of Psychoanalysis, Warmaking, and Resistance. Roberto Oelsner, MD has been practicing psychotherapy and psychoanalysis since 1970. He is faculty at COR Northwest Family Development Center, visiting scholar at the Psychoanalytic Institute of Northern California, and guest faculty at the San Francisco Center for Psychoanalysis Child Training. He is a Training and Supervising Psychoanalyst at the Buenos Aires Psychoanalytic Association as well as the Northwestern Psychoanalytic Society. He is also a Certified Child and Adolescent Psychoanalyst of the International Psychoanalytic Association. Lynne Layton, Ph.D. is Assistant Clinical Professor of Psychology, Harvard Medical School. She has taught courses on women and popular culture and on culture and psychoanalysis for Harvard's "Committee on Degrees in Women's Studies". She teaches at the Massachusetts Institute for Psychoanalysis. She is the author of Who's That Girl? Who's That Boy? Clinical Practice Meets Postmodern Gender Theory and co-editor, with Susan Fairfield and Carolyn Stack, of Bringing the Plague: Toward a Postmodern Psychoanalysis and co-editor, with Nancy Caro Hollander and Susan Gutwill of Psychoanalysis, Class and Politics: Encounters in the Clinical Setting. She is co-editor of the Journal Psychoanalysis, Culture & Society and associate editor of Studies in Gender and Sexuality.

Continuing Education Psychologists: The Massachusetts Institute for Psychoanalysis (MIP) is approved by the American Psychological Associa­tion (APA) to sponsor continuing education for psychologists. MIP maintains responsibility for this program and its content. Social Workers: This program has been approved for 5.5 Social Work Continuing Education hours for relicensure, in accordance with 258 CMR. Collaborative of NASW and the Boston College and Simmons Schools of Social Work authorization number D60120. Physicians:The Massachusetts Institute for Psychoanalysis, Inc. designates this live activity for a maximum of 5.5 AMA PRA Category 1 Credits™. Physicians should claim only the credit commensurate with the extent of their participation in the activity. Learning Objectives 1. At the end of this program you will have a better understanding of psychopathology as it relates to traumatic loss, forestalled grief and mourning, and conflicts with caretakers about sexual orientation. 2. At the end of this program you will be able to articulate comparative theoretical perspectives on the traumatic unconscious and it's various forms of expression. 3. At the end of this program you will be able to recognize how objects come into existence in the patient's internal world. Suggested Readings 1. Harris, A. (2009). "You Must Remember This". Psychoanal. Dial., 19:2-21. 2. Corbett, K. (2001). More Life: Centrality and Marginality in Human Development. Psychoanal. Dial., 11:313-335. 3. De Bianchedi, E.T., Antar, R., Fernández Bravo De Podetti, M.R., Grassano De Píccolo, E., Miravent, I., Pistiner De Cortiñas, L., Scalozub De Boschan, L.T., Waserman, M. (1984). Beyond Freudian Metapsychology-The Metapsychological Points of View of the Kleinian School. Int. J. Psycho-Anal., 65:389-398. CLICK HERE TO BE REDIRECTED TO THE MIP WEBSITE TO REGISTER AND PAY

Mark your calender for other MIP activities Sat. Nov. 17, 2012 - Gilbert Cole Sat. April 20, 2013 - Dr. Peter Goldberg

Massachusetts Institute for Psychoanalysis (MIP) Email: reachmip@gmail.com T: 617-469-2777 Fax: 978-926-0387 www.mipsa.org

Forwards and Backwards

So, I am near completion of the script for Banned in Boston.

We had a reading of it the other night, and all seemed pleased, which is a relief! 

It is quite difficult, writing a script for non-actors, who will not have rehearsed and will probably be a bit looped as well.  Script in hand, mic in the other.  No props.  No more than 3 lines per person at a time, or thereabouts (any more, and they start to get lost). 

And it needs to be funny. 

The host, it turns out, will be super-handsome TV actor David Walton, Boston native and star of the new NBC show "Bent".   It will be exciting to meet him.  I can finally ask the burning question of what it's like to be an actor that actually gets paid something.  Last time I acted, I think I was actually paid in gummy worms.

Banned in Boston will go up on April 27th, for one night only.  School will end the following week, and I'll have some time off for a bit. 

I usually don't do much in the summer.  I haven't been able to find any regular summer work, besides my one-week stint at BoCo's Vocal Choral Intensive for High School students, which is always a crazy blur of fun.  So I usually need to be frugal in the summer.

The Groom, The Maid, The Bellhop & The Bride

This summer, however, The Hotel Nepenthe will arise from the ashes for 6 six shows, as part of the TCG Conference in June.  Same cast, director and designers, which is awesome!  ASP is co-pro-ing with the Huntington, and we'll perform at the Wimberly (with the audience onstage with us!).

Paula in "Miss Price"

After that, I will be working on a play I wrote over 10 years ago for Paula Plum to perform.  It's a solo show called Miss Price, which I will re-write for a reading at Gloucester Stage at the end of July.  Miss Price is about a lonely librarian who strikes an unlikely friendship with the title character: the unseen mysterious Miss Price, her replacement.  Very excited to revisit a play that I wrote so long ago.  My good friend Doug Lockwood is directing and Paula will reprise her role!

Cat Paternostro as The Siren in Necessary Monsters

Working on the rewrite of Necessary Monsters, as well.

Myself and Marissa Rae Roberts in "Uncle Vanya"

In the Fall, Apollinaire wants to remount Uncle Vanya, so I feel very lucky that I will get a chance to play Vanya again! I must admit, I sort of like having a beard.  I feel very professorial.  And young people give up their seat on the bus for me. 

the salt girl

After the Vanya remount, I have an interesting project in November: the Massachusetts Institute of Psychoanalysts is holding a national symposium in Boston and they would like me to perform The Salt Girl  as part of their event, for one show only, at NINE in the morning (are people even awake then?) in the conference room of the new Fenway Health Building on Beacon Street with a panel discussion to follow.  I've met with them a few times to talk about it, and they are all quite nice.  A few of them had seen the play when I performed it at BPT a few years ago. 

Obviously, it would need to be more of a staged reading: it's impossible to remount the entire production for one show.  But the group is terribly supportive and really gung-ho.  They really love the play!  I had no idea that so many psychoanalysts would be so into The Salt Girl.  It really means a lot to me.  And makes me feel even crazier then I already do.  In a good way.

Quint

I'm really looking forward to re-visiting The Salt Girl, actually.  I had always hoped that it might have another life somewhere.  It's a fictional piece about a man named Quint who postpones his suicide to visit his estranged father on his death bed.  My own father died in a car accident in 2001.  It was a terrible time, and the play helped me find a perspective about what had happened.  But really that's the only true event in the play.  And even that feels like fiction.  Because memory is so fluid and warped (which, I guess, is what the play is about, among other things).  I was thinking about it recently, what with all the controversy surrounding Mike Daisey, and what is true or not when it's presented onstage.  For me, I always present everything as false.  Even the true stuff.  So no one is hurt.  In theory. 

I would like to make The Salt Girl a one-act, if possible.  The main response I've found with the piece (and I agree) is that it feels too long.  I always felt that it wants to be a one act, no intermission.  But we couldn't figure out how to make that happen at BPT.  And two hours seemed too long for an audience to sit thru (then again, I just saw The Andersen Project, and that was no problem.  I could have seen the whole thing again!).  So we had an intermission.  But an intermission disrupts the flow of the piece, and it's such a strange world, with it's own set of rules, that when you stop for a break, it's hard to get back into it.  I think.  So, I'm going to give it a try with this reading.  And hopefully it will find another home, somewhere, like Nepenthe.

So, everything is redux, redux, redux.

Nicky Sawyer as Irma & Joe Longthorne as The Chief of Police

School will start up as well in the Fall, of course.  I'm not directing anything this year.  But looking back, I could not be more proud of The Balcony.  It's an incredibly difficult text, and I thought the students did a remarkable job.  And the production was beautiful.  BoCo could not have been more supportive.  That I was lucky enough to work with all those incredible designers and technicians, well, really, amazing!  When I think that I directed it, it seems impossible.  It's like a trial by fire.  You feel like you can climb a mountain after that.  I would like to start directing more.  I really do like it.  And it's a creative challenge (and quite fun) to explore how you envision a world like the world in The Balcony.  I always saw a blown-up run way, and heard pop music.  It has photographers and crazy costumes, after all.  I thought it would be like Project Runway during a coup.  On acid. 

I tried reading the 900-page Genet by Edmund White but gave up about a third of the way thru and just skipped to the juicy parts concerning The Balcony.  That and the other research made me feel a little better about what I wanted to do, because I realized that no matter what I did, Genet would probably have hated it.  He hated every production of The Balcony.  He didn't even like the play itself after awhile, apparently: he felt it was a rehearsal for The Screens and The Blacks (which he considered much better plays). 

If you are contemplating directing The Balcony, here's some things I discovered, which you might find helpful (or not):

 1.  It is LONG!  It is almost ALWAYS cut.  (The last time the play was done professionally in Boston was at the ART, directed by Joanne Akalitis.  Akalitis's production was over 4 hours long!  She didn't cut a thing.  Tommy played one of the photographers, and since the photographers didn't appear until the last scene, his call time was 10pm - .  His CALL time was 10pm!  Now that's a long play!) 

So, you need to cut it, just like Winter's Tale! 

Personally I think plays should either be 90 minutes or 8 hours long. 

But WHAT you cut is another story.  The New York production that Jose Quintero directed cut all of Scene 6, which is the scene between Chantal and Roger, the revolutionary.  I didn't want to do that for a few reasons: first, it would have eliminated the role of Chantal completely, and limited the role of Roger drastically (and since it is a student production, I wanted as many people involved as possible, of course).  I also really felt that they were the heroes of the play.  It's Roger and Chantal that you are rooting for, in the end.  At least, for me.  Everyone else is sort of an asshole.  Except of course, maybe for Irma and Carmen.  But that's debatable.  I ended up keeping Scene 6, and I made the most cuts in Scenes 5, 7 and 9 (in the long tete a tete between Irma and Carmen, the Envoy scene and the long scene between the Chief of Police and the Three Functionaries, respectively).  Even cut, the play is long , that's just what it is  (our version was 3 hours, which is Shakespeare length).  But I also added a pre-show that dramatized Chantals' escape from the brothel with Roger (which is spoken about, but never seen).  Otherwise, you have NO idea who these people are.  Especially if you cut the passing mention of them in Scene 5.  Which I did.

bulletproof!

2.  There are many versions of The Balcony.  Genet re-wrote this play over ELEVEN times.  He was never quite satisfied with it, apparently.  All these different re-writes are floating about.  I found three.  His life-long friend and translator, Bernard Frechman, did every version that I found, so there was no discrepancy in that regard.   But there are drastic differences in all of them.  Scene 6, for example, is very different in the earlier version (the "revised" version is the most common).  Chantal is accompanied by not just Roger, but a whole slew of revolutionaries, and the scene resembles - for me -  one of those scenes from an old French war film.  It's pretty inscrutable.  Another version (which I found, unbelievably, as part of the liner notes for a 6-album British recording of The Balcony in 1966- with Patrick Magee as The Bishop) has an ENTIRE additional scene between Carmen, The Bishop and Rosine, (the Bishop's "girl" or penitent) at the end of Scene 7 (rather than ending on The Envoy's line "I don't have time for your crap", Carmen and The Bishop enter, and he is dressed by Rosine for his role as the "real" Bishop onstage).  It is a FABULOUS scene NOWHERE to be found in any of the other versions, so I was really excited that I stumbled upon it!  Not sure why he would cut it.  Then again, Edward Albee cut the entire end of Act 2 scene between George and Honey in his 2004 re-write of Who's Afraid of Virginia Woolf?, which was like a knife in my heart.  I mean, WHAT?!  That scene is AWESOME!  But, oh well!  He's the playwright, after all! 

Another great thing about this lost Bishop/Rosine scene: it helps buy time for Irma to change into the Queen for her entrance in Scene 8.  Without it, she pretty much leaves at the end of Scene 7 and comes right back on stage as The Queen at the top of Scene 8, which is a quick change indeed!  Our transformation was pretty elaborate, so we needed that extra time.  There's also another version (in French only, I believe) that includes a "dream ballet" of blood, tears and sperm (played by the actors playing the Photographers).  I couldn't find this version, sadly.  But I found where it used to be, and just added my own ballet. 

To Leslie Gore's "Sunshine, Lollipops". 


Why not?

Salt Girl Slide Show

I've been thinking of The Salt Girl a lot lately.  It was a scary, fun, exhausting piece to write and perform, and I'm so grateful for the amazing group of people that I got to work with when it first opened, almost two years ago.  I'm really hoping to perform it again soon. 

Prior to opening at the Boston Playwrights Theatre, BU Today did a lovely little slideshow about the piece by Vicky Waltz, which I've pasted below.  The TV sets hadn't been installed yet at that point, and I'm wearing my street shoes, but it still makes me nostalgic for that wonderful, creative, frenzied period right before the audience joins you...

John Kuntz Sprinkles Dark Humor Through Salt Girl

Solo performance debuts at Playwrights’ Theatre

By Vicky Waltz

In the slide show above, John Kuntz (GRS’05) discusses his one-man play The Salt Girl, premiering November 5 at the Boston Playwrights’ Theatre.

John Kuntz likes to talk to himself. “I do it all the time,” he says. “And I have fabulous conversations with myself.”
That habit comes in handy on stage — the playwright and actor has written and starred in six one-man shows. His most recent, a darkly comic drama called The Salt Girl, debuts tonight at the Boston Playwrights’ Theatre.
“In my other one-man shows, I generally play between 30 and 40 roles,” says Kuntz (GRS’05). “The Salt Girl is different because I play only one — for two whole hours.”
Told from the viewpoint of Quint, a lonely, middle-aged gay man, The Salt Girl explores the character’s search for identity, acceptance, and closure. The play opens as Quint is about to commit suicide. Moments after he swallows a handful of pills and ties a plastic bag over his head, his cell phone rings.
“Your father was in an accident,” the caller tells him. “His condition is serious.”
Past and present collide as Quint sits with his comatose father and revisits painful memories. Kuntz moves through decades, transforming from embittered adult to awkward teenager, and back. He recalls his older sister, who vanished before he was born, his mother, who died when he was a child, and former lover Ted, who seduced him when he was 15.
“I am absolutely fascinated by Quint,” says director David R. Gammons. “I feel so much for him — for his loneliness and disconnection.”
To emphasize Quint’s detachment from reality, set designers constructed an enormous wall of 25 television sets that play snippets of old movies, commercials, and home videos.
“The screens represent fragments of Quint’s memories, fantasies, and desires,” says Gammons. “Most one-person shows don’t have a set at all, and we’ve created this dense and layered world with lots of props and music and projections.”
Kuntz, a graduate of the GRS Creative Writing Program, has written 14 plays, including the solo show Starf*ckers, winner of an Elliot Norton Award. Another, Jasper Lake, debuted at the Boston Playwrights’ Theatre in 2004 and went on to receive Kennedy Center honors, with the Paula Vogel National Playwriting Award of the center’s Michael Kanin Playwriting Awards Program.
He compares acting in a show that he’s also written to being inside a clock. “When I’m writing a play, I see only the face of the clock,” he says. “But when I’m acting in it, I can see all the gears and say, ‘This is too long and this needs to be moved.’”
Being both playwright and actor saves time because “it eliminates the bickering that typically occurs between the actors and playwright,” Kuntz continues. “The playwright has the final say, of course, but sometimes the actor is right. And because I’m both — well, I guess I’m always right!”

The Salt Girl opens November 5 at 7:30 p.m., and runs Thursdays to Sundays at the Boston Playwrights’ Theatre, 949 Commonwealth Ave., through November 22. Tickets are $30 for general admission, $25 for seniors, $10 for students (ID required) and may be purchased online, by phone at 866-811-4111, or in person at the Boston Playwrights’ Theatre. Performance times vary; check the calendar. This play contains nudity. For more information, call 617-353-5443.
Vicky Waltz can be reached at vwaltz@bu.edu.

Salt Notes

I was just looking through the old files on my computer, and I stumbled across my program notes for my solo show, The Salt Girl, which I performed last year, around this time, at the Boston Playwrights Theatre.

I wasn't prepared to write these notes, so when I did I was rather surprised at what came out:  I didn't consciously know some of these things about my own play; what I was thinking of, what was operating underneath all the words I wrote, until I had to write about them, and that was really weird, so I thought it might be interesting to share them here. 

I can't really express how much the play meant to me, except that it was the most personal piece I ever wrote and performed, that it took a great deal of time and effort to conceive and write it, and that I couldn't have felt more lucky to be working with such a wonderful, supportive group of people at BPT. 

BPT's new season of brand new plays officially opened this week with Five Down, One Across by Michael Towers.   You can go to http://www.bu.edu/bpt  for more info!

Here are the program notes:

When I was a kid I used to get up very early every Saturday morning, pour a big bowl of Alpha-bits or Sugar Smacks, and watch cartoons.
Scooby Doo.
Bugs Bunny.
I am one of those adults who can spontaneously begin singing the Preamble from the United States Constitution, thanks to “School House Rock”.


When I was a bit older, maybe 10 or so, a little girl I knew from my class died right in front of me. She was running to catch the school bus with us and tripped over the sprinkler in her lawn.
She fell.
And she didn’t get back up.
Her heart had stopped.
It could have happened at any time, we were told.


And still later, as a teen-ager, I listened to The Cure and The Smiths. I wore a lot of black clothes and eye-liner. My hair seemed to defy gravity. And I discovered that while I liked girls, I felt that boys were, somehow, cuter.


And a few years after that a man down our street shot his whole family and then himself.


But there was also the amusement park in the summer. And the water slide.
Lobsters and fried clams.
And Star Wars.
And celery.


And then I became an adult, of sorts, and a lot of wonderful things happened.
And scary things.
And infinitely sad things.


As they do.


And this play is about all that.


Some of the events in the play really happened.
But most of them didn’t.
I made them up.
But even the most elaborate invention came from something true, somehow.
And these lies helped me find the truth, somehow, for this lonely man.
Quint.
Who I named after a ghost from a Henry James story.


I began thinking of The Salt Girl about five years ago, and mentioned it to Kate Snodgrass while we sat in an airport together.


She said “I want to produce that play, but you have to write it first.”
And now here we are.


It is rare to meet someone who believes in you like that.
I thank Kate from the bottom of my heart.


As a final(ish) draft began to emerge, over a year and a half ago, I knew that I wanted David to direct it and design it. We had just finished working together on “Titus Andronicus”, where he had cast me, improbably, as a bald-headed, very masculine Queen Tamora.
It was one of my favorite experiences. Ever.


I knew David would translate this play like no one else.
We are both about the same age.
We both like cereal.
We are both gay as wind chimes.


David deeply understands what is funny.
And what is not.
He is a great artist and a great friend.


I want to thank Adam Stone as well, who created the amazing video landscape and sound.
And Jeff Adelberg, who lit this world.
And the stage managers, Adele Traub and Nikki DiLoreto.


I’d like to thank you, as well, for being here.


I tried to write a play that I would want to see if I were in the audience:
I like to be surprised.
I like to be disturbed.
I like to laugh.
I like to cry while I laugh.
And vice versa.


And I like candy.


John Kuntz

The Superheroine Monologues Return!!!!!

Just got the word today that the show I wrote with my friend Rick Park, The Superheroine Monologues, will be produced again in September at the Boston Center for the Arts, in the Plaza Theatre. Very excited to have another run! The show is a sort of riff on The Vagina Monologues, only with superheroines (and a couple villains...and a mortal, even!). It's a lot of fun. We had a run this Spring at the Boston Playwrights Theatre (where The Salt Girl will be performed) and the audiences really seemed to enjoy it. The director, Greg Maraio, also designed all the costumes, which are brilliant and the cast is gorgeous, sassy and kick ass!!!! I'll try to keep you posted!

The Salt Girl

I had a reading of my new solo show at the Boston Playwrights Theatre last week, and now I'm busy with re-writes. I'm very excited about the play: it's the first solo show I've written in 10 years (!) It's called "The Salt Girl", and it's about this man who postpones his suicide so he can visit his estranged, unconscious father on his death bed.

And it's a comedy.

Sort of.

Really.

I swear.

David Gammons, who I worked with on the amazing "Titus Andronicus" (perhaps one of the best theatre experiences in my life), is the director and designer, with Jeff Adelberg on lights and Adam Stone doing sound/original music. Kate Snodgrass is producing. It's just a wonderful group of people, and a really great vibe. I feel very lucky.

We open November 5th, which seems a millions years away right now. I'll try to keep notes on how it's all progressing.