So last night was the last show on my season ticket list for the Ahmanson. It was a very good production of My Fair Lady. Strangely though, for the third show in a row we saw the understudy instead of the lead. This seems odd to me as all the show times were prime slots like Friday or Saturday nights, but so it goes.
I'm not a big fan of the "old fashioned" musicals, but this production is beautifully staged and looks as if they definitely spent some money on sets and costumes. It even boasts a large cast which is nice to see for my fellow actor friends. Michael Farina, who was wonderful in my production of Fanny Hill, and Jesse Swimm, who was in a production of Jesus Christ Superstar at the Westchester Theater that I played Judas in, were both in the production. I love it when people you've worked with show up in a production you go to see.
All in all, it was a very pleasant show. Nothing to jump up and down about from my perspective, but certainly everyone there enjoyed it.
Monday, April 21, 2008
Saturday, April 19, 2008
Amazing Website to Inspire - Ted.com
Hello all,
A quick diversion from Ed's chapters. He sent me an amazing website that if you haven't heard about, you need to check out. It is www.ted.com.
The site is a repository of amazing speeches given by some of the world's most fascinating thinkers. For example see:
Al Gore give his updated slideshow regarding Climate Change
Jill Bolte Taylor, Harvard Neuroanatomist give an amazing speech on her experience of having a stroke
Jan Goodall speak about man and apes
As stated on their website:
"The annual conference now brings together the world's most fascinating thinkers and doers, who are challenged to give the talk of their lives (in 18 minutes)."
TED stands for Technology, Entertainment, Design. It started out (in 1984) as a conference bringing together people from those three worlds. Since then its scope has become ever broader.
"This site makes the best talks and performances from TED available to the public, for free. More than 200 talks from our archive are now available, with more added each week. These videos are released under a Creative Commons license, so they can be freely shared and reposted."
Spend a few minutes on this site and change your thinking!
A quick diversion from Ed's chapters. He sent me an amazing website that if you haven't heard about, you need to check out. It is www.ted.com.
The site is a repository of amazing speeches given by some of the world's most fascinating thinkers. For example see:
Al Gore give his updated slideshow regarding Climate Change
Jill Bolte Taylor, Harvard Neuroanatomist give an amazing speech on her experience of having a stroke
Jan Goodall speak about man and apes
As stated on their website:
"The annual conference now brings together the world's most fascinating thinkers and doers, who are challenged to give the talk of their lives (in 18 minutes)."
TED stands for Technology, Entertainment, Design. It started out (in 1984) as a conference bringing together people from those three worlds. Since then its scope has become ever broader.
"This site makes the best talks and performances from TED available to the public, for free. More than 200 talks from our archive are now available, with more added each week. These videos are released under a Creative Commons license, so they can be freely shared and reposted."
Spend a few minutes on this site and change your thinking!
Monday, April 7, 2008
Open letter to Actors' Equity Association re: New York Music Theater Festival
April 6, 2008
Dear Actors' Equity,
I am in a very unique position as a producer of off-Broadway shows (including the 2005 production of Richard Cory at the New York Musical Theater Festival (NYMF)) and a proud member of AEA (performer in The Scarlet Pimpernel, Grease! and King David under the production contract) and am writing to express my concern regarding the issue of increasing upfront costs to showcase productions specifically done at NYMF.
As a member of the production contract negotiating committee in 1999, I long ago saw the writing on the wall regarding the seemingly endless escalating costs to mount a new show due to salaries, rent, health insurance, advertising - everything. And since all the costs are rising, where is the first place producers go to cut costs? Development. But what is the most crucial part of any new show’s fragile life? Development. As an artist AND a producer, I am tired of seeing the endless stream of singing mermaids, dancing plates, chimney sweeps and tired second rate movies being the only thing considered for Broadway musicals IN NEW YORK. It is time for all of us to grow up, and that includes Actors’ Equity.
I, like many of my fellow AEA members, have an entrepreneurial spirit. Actors usually do as they are running their own micro businesses that include self promotion, advertising, training and the like. Because of that entrepreneurial spirit, back in 1999 I mentioned to Alan Eisenberg, then Executive Director of Equity, a potential plan for Equity to consider to help reduce upfront costs for a new production with exceptional gains on the back end for any member of Equity. This was a plan that only involved the “development” time for a production. I mentioned this plan to him as AN ACTOR not a producer, knowing that as an actor I was willing to help solve the problem. He simply shot the idea down saying, “Equity actors are salaried employees and will never consider lowering any rates even with the potential of higher pay on the back end.”
I believe that type of thinking was short sighted then and continues to be now. In the specific case of NYMF, they have come up with a working solution to help reign in costs for the development of shows. For going on five years now they have been able to successfully help develop over 32 shows PER YEAR that otherwise might not have been done. And they did it in a way that encompassed full solidarity across the unions. Talk about “favored nations,” everyone involved in every production produced at NYMF, including musicians, directors, stagehands, and designers, by contract made no more than any of the actors involved in the show. Everyone has been and is willing to accept minimum upfront stipends for the very short amount of time required for these developmental productions. Let me simply say this: As a producer I was willing to spend my own money to see the dream of Richard Cory be realized on stage for only 8 shows. We nearly sold-out all of our shows and we still lost money. But seeing that show get done was worth it. We even won the audience award for the show, but since it is a thoughtful piece – not a “commercial” piece, it may never be done again. So be it. But if ever I am able to get the show up for a Broadway or even off-Broadway run – I would run to give every actor, our amazing director, everyone involved in the show, the opportunity to be in that version.
I implore the union to stop thinking in the short term and think long term. Raising the stipend from 300 to 500 dollars could very well put the cost of doing the shows at NYMF beyond the threshold of the young producers trying to get these shows up. It is a bit like the almost laughable stimulus package giving the nation $600 dollars per person to go blow on consumer goods. It will not solve the problem. Trying to enforce the possibility of actors getting an extra $200 dollars now versus the very possibility that increase could actually remove the possibility of getting anything due to unattainable budgets is shooting eveyone in the foot, and maybe even in the head. This raise could even eliminate the possibility of these shows moving on to viable, real wage positions that would include contributions to the union, the health and welfare fund and weeks of work.
As actors we have to understand that we don’t get to be the only ones who get to play and participate in this wonderful thing called theater when more than 90% of all shows don’t even recoup their investments. It is a risky business, and investors are not going to continue to risk their money unless they can see the success of their shows up in front of an audience so they can see their reaction. It is time for the union to take responsibility for our portion of the “business” side of show business and understand that we have to be partners with the entrepreneurs risking their money for us to be able to do the play. I am not asking that we work for free. Hardly. I am asking for us to be smart business people and invest our time in the development process to pay off in dollars when the 10% that move on get the chance to pay us back at a more than respectable rate.
NYMF has come up with and employed a solution to the escalating cost issues of developing new works. Do not eliminate this solution for a lousy 200 bucks an actor. Actors are not being taken advantage of when participating in NYMF. They are participating as partners in the development of potential new works with the promise of a successful show down the road. If the union feels more protection is required, then demand a better package on the back end for those that are participating. Believe me, any producer there would be happy to take care of their fellow partners. If we take away this solution, we are not going to rise above singing candlesticks and dancing apes in the jungle. Not that those are bad things, but it shouldn’t be the only option.
Sincerely,
Nick Cavarra
Dear Actors' Equity,
I am in a very unique position as a producer of off-Broadway shows (including the 2005 production of Richard Cory at the New York Musical Theater Festival (NYMF)) and a proud member of AEA (performer in The Scarlet Pimpernel, Grease! and King David under the production contract) and am writing to express my concern regarding the issue of increasing upfront costs to showcase productions specifically done at NYMF.
As a member of the production contract negotiating committee in 1999, I long ago saw the writing on the wall regarding the seemingly endless escalating costs to mount a new show due to salaries, rent, health insurance, advertising - everything. And since all the costs are rising, where is the first place producers go to cut costs? Development. But what is the most crucial part of any new show’s fragile life? Development. As an artist AND a producer, I am tired of seeing the endless stream of singing mermaids, dancing plates, chimney sweeps and tired second rate movies being the only thing considered for Broadway musicals IN NEW YORK. It is time for all of us to grow up, and that includes Actors’ Equity.
I, like many of my fellow AEA members, have an entrepreneurial spirit. Actors usually do as they are running their own micro businesses that include self promotion, advertising, training and the like. Because of that entrepreneurial spirit, back in 1999 I mentioned to Alan Eisenberg, then Executive Director of Equity, a potential plan for Equity to consider to help reduce upfront costs for a new production with exceptional gains on the back end for any member of Equity. This was a plan that only involved the “development” time for a production. I mentioned this plan to him as AN ACTOR not a producer, knowing that as an actor I was willing to help solve the problem. He simply shot the idea down saying, “Equity actors are salaried employees and will never consider lowering any rates even with the potential of higher pay on the back end.”
I believe that type of thinking was short sighted then and continues to be now. In the specific case of NYMF, they have come up with a working solution to help reign in costs for the development of shows. For going on five years now they have been able to successfully help develop over 32 shows PER YEAR that otherwise might not have been done. And they did it in a way that encompassed full solidarity across the unions. Talk about “favored nations,” everyone involved in every production produced at NYMF, including musicians, directors, stagehands, and designers, by contract made no more than any of the actors involved in the show. Everyone has been and is willing to accept minimum upfront stipends for the very short amount of time required for these developmental productions. Let me simply say this: As a producer I was willing to spend my own money to see the dream of Richard Cory be realized on stage for only 8 shows. We nearly sold-out all of our shows and we still lost money. But seeing that show get done was worth it. We even won the audience award for the show, but since it is a thoughtful piece – not a “commercial” piece, it may never be done again. So be it. But if ever I am able to get the show up for a Broadway or even off-Broadway run – I would run to give every actor, our amazing director, everyone involved in the show, the opportunity to be in that version.
I implore the union to stop thinking in the short term and think long term. Raising the stipend from 300 to 500 dollars could very well put the cost of doing the shows at NYMF beyond the threshold of the young producers trying to get these shows up. It is a bit like the almost laughable stimulus package giving the nation $600 dollars per person to go blow on consumer goods. It will not solve the problem. Trying to enforce the possibility of actors getting an extra $200 dollars now versus the very possibility that increase could actually remove the possibility of getting anything due to unattainable budgets is shooting eveyone in the foot, and maybe even in the head. This raise could even eliminate the possibility of these shows moving on to viable, real wage positions that would include contributions to the union, the health and welfare fund and weeks of work.
As actors we have to understand that we don’t get to be the only ones who get to play and participate in this wonderful thing called theater when more than 90% of all shows don’t even recoup their investments. It is a risky business, and investors are not going to continue to risk their money unless they can see the success of their shows up in front of an audience so they can see their reaction. It is time for the union to take responsibility for our portion of the “business” side of show business and understand that we have to be partners with the entrepreneurs risking their money for us to be able to do the play. I am not asking that we work for free. Hardly. I am asking for us to be smart business people and invest our time in the development process to pay off in dollars when the 10% that move on get the chance to pay us back at a more than respectable rate.
NYMF has come up with and employed a solution to the escalating cost issues of developing new works. Do not eliminate this solution for a lousy 200 bucks an actor. Actors are not being taken advantage of when participating in NYMF. They are participating as partners in the development of potential new works with the promise of a successful show down the road. If the union feels more protection is required, then demand a better package on the back end for those that are participating. Believe me, any producer there would be happy to take care of their fellow partners. If we take away this solution, we are not going to rise above singing candlesticks and dancing apes in the jungle. Not that those are bad things, but it shouldn’t be the only option.
Sincerely,
Nick Cavarra
Sunday, April 6, 2008
Sweeny Todd at the Ahmanson
The show is the star in the new Sweeny Todd tour that came through the Ahmanson that I saw last night. Although there are some terrific performances in the piece, especially Judy Kaye in the deliciously devilish roll of Ms. Lovett, it is really the mind's eye of the designer/director John Doyle that shines through. And thank goodness. This is a very stylish, thoughtful piece that manipulates you down to every beat. This can only be done with a show that has a history of success and an already solidified pedigree in our consciousness. It seems to have come from the "let's do Richard III as if it were taking place in Natzi Germany" or "let's do a take on Romeo and Juliet that takes place in LA with fast cars, automatic weapons and beautiful youth." If we were not already familiar with the storyline, I am not sure we could appreciate all the thoughtful "variations on the original theme" that are taking place in this version.
That being said, it was wonderful to be in the theater and be challenged to concentrate on what was being delivered. This was not a Disney film turned Broadway musical that we know the ending before we start. This was an evening of clever surprises to what was coming next. Questions like, "how are they going to deal with all the blood that can be in this show?" - very effectively handled by slowly pouring a dark red liquid from one small white pail into another in a demonstration of symbolism (something I'm sure the stage hands appreciated). "How will they deal with the usually complicated barber's chair?" - again handled with the deceivingly simplistic use of a coffin, but broken down and arranged in intricate pieces to suggest the horrors to follow - and forces our participation as our imaginations take over to fill in the gory details.
The only detriment to the show in my book was all this thoughtful manipulation made the show almost too cerebral, demanding our respect, but not quite drawing us in. At the conclusion of the piece, I think everyone was duly impressed will all the talents on stage and the precision of the procedure, but my dentist's deft hand also demands my respect, but it still doesn't make my teeth feel better after a deep cleaning.
Dreampeddler
That being said, it was wonderful to be in the theater and be challenged to concentrate on what was being delivered. This was not a Disney film turned Broadway musical that we know the ending before we start. This was an evening of clever surprises to what was coming next. Questions like, "how are they going to deal with all the blood that can be in this show?" - very effectively handled by slowly pouring a dark red liquid from one small white pail into another in a demonstration of symbolism (something I'm sure the stage hands appreciated). "How will they deal with the usually complicated barber's chair?" - again handled with the deceivingly simplistic use of a coffin, but broken down and arranged in intricate pieces to suggest the horrors to follow - and forces our participation as our imaginations take over to fill in the gory details.
The only detriment to the show in my book was all this thoughtful manipulation made the show almost too cerebral, demanding our respect, but not quite drawing us in. At the conclusion of the piece, I think everyone was duly impressed will all the talents on stage and the precision of the procedure, but my dentist's deft hand also demands my respect, but it still doesn't make my teeth feel better after a deep cleaning.
Dreampeddler
Saturday, April 5, 2008
For pure hysterical laughter... like back in high school and you couldn't stop laughing when you stepped on the upturned rake until it poked through
Every year, English teachers from across the USA can submit their collections of actual analogies and metaphors found in high school essays in order to have them published and sent out for the amusement of other teachers across the country.
Recent winners:
1. Her face was a perfect oval, like a circle that had its two sides gently compressed by a Thigh Master.
2. His thoughts tumbled around inside his head, making and breaking alliances like underpants in a dryer without Cling Free.
3. He spoke with the kind of wisdom that can only come from experience, like a guy who goes blind because he looked at a solar eclipse without one of those boxes with a pinhole in it and now goes around the country speaking at high schools about the dangers of looking at a solar eclipse without one of those boxes with a pinhole in it.
4. She grew on him like she was a colony of E. Coli, and he was room-temperature Canadian beef.
5. She had a deep, throaty, genuine laugh, like the sound a dog makes just before it throws up.
6. Her vocabulary was as bad as, like, whatever.
7. He was as tall as a six-foot, three-inch tree.
8. The revelation that his marriage of 30 years had disintegrated because of his wife's infidelity came as a rude shock, like a surcharge at a formerly surcharge-free ATM machine.
9. The little boat gently drifted across the pond exactly the way a bowling ball wouldn't.
10. From the attic came an unearthly howl. The whole scene had an eerie, surreal quality, like when you're on vacation in another city and Jeopardy comes on at 7:00 p.m. instead of 7:30.
11. Her hair glistened in the rain like a nose hair after a sneeze.
12. Long separated by cruel fate, the star-crossed lovers raced across the grassy field toward each other like two freight trains, one having left Cleveland at 6:36 p.m. traveling west at 55 mph, the other from Topeka at 4:19 p.m. traveling east at a speed of 35 mph.
13. They lived in a typical suburban neighborhood with picket fences that resembled Nancy Kerrigan's teeth.
14. John and Mary had never met. They were like two hummingbirds who had also never met.
15. He fell for her like his heart was a mob informant, and she was the East River.
16. Even in his last years, Granddad had a mind like a steel trap, only one that had been left out so long, it had rusted shut.
17. The plan was simple, like my brother-in-law Phil. But unlike Phil, this plan just might work.
18. The young fighter had a hungry look, the kind you get from not eating for a while.
19. He was as lame as a duck. Not the metaphorical lame duck, either, but a real duck that was actually lame, maybe from stepping on a land mine or something.
20. He was deeply in love. When she spoke, he thought he heard bells, as if she were a garbage truck backing up.
Recent winners:
1. Her face was a perfect oval, like a circle that had its two sides gently compressed by a Thigh Master.
2. His thoughts tumbled around inside his head, making and breaking alliances like underpants in a dryer without Cling Free.
3. He spoke with the kind of wisdom that can only come from experience, like a guy who goes blind because he looked at a solar eclipse without one of those boxes with a pinhole in it and now goes around the country speaking at high schools about the dangers of looking at a solar eclipse without one of those boxes with a pinhole in it.
4. She grew on him like she was a colony of E. Coli, and he was room-temperature Canadian beef.
5. She had a deep, throaty, genuine laugh, like the sound a dog makes just before it throws up.
6. Her vocabulary was as bad as, like, whatever.
7. He was as tall as a six-foot, three-inch tree.
8. The revelation that his marriage of 30 years had disintegrated because of his wife's infidelity came as a rude shock, like a surcharge at a formerly surcharge-free ATM machine.
9. The little boat gently drifted across the pond exactly the way a bowling ball wouldn't.
10. From the attic came an unearthly howl. The whole scene had an eerie, surreal quality, like when you're on vacation in another city and Jeopardy comes on at 7:00 p.m. instead of 7:30.
11. Her hair glistened in the rain like a nose hair after a sneeze.
12. Long separated by cruel fate, the star-crossed lovers raced across the grassy field toward each other like two freight trains, one having left Cleveland at 6:36 p.m. traveling west at 55 mph, the other from Topeka at 4:19 p.m. traveling east at a speed of 35 mph.
13. They lived in a typical suburban neighborhood with picket fences that resembled Nancy Kerrigan's teeth.
14. John and Mary had never met. They were like two hummingbirds who had also never met.
15. He fell for her like his heart was a mob informant, and she was the East River.
16. Even in his last years, Granddad had a mind like a steel trap, only one that had been left out so long, it had rusted shut.
17. The plan was simple, like my brother-in-law Phil. But unlike Phil, this plan just might work.
18. The young fighter had a hungry look, the kind you get from not eating for a while.
19. He was as lame as a duck. Not the metaphorical lame duck, either, but a real duck that was actually lame, maybe from stepping on a land mine or something.
20. He was deeply in love. When she spoke, he thought he heard bells, as if she were a garbage truck backing up.
Thursday, April 3, 2008
Wednesday, April 2, 2008
Jott.com
This is just a quick post about Jott.com. This is amazing new service andit is free on the internet, so for all you bloggers out there, all you have to do is speak into your phone and it will post automatically to your blog site. Pretty amazing stuff. Also, will work great if you have a family - especially kids - and you do not wanna do texting while you're driving. Jott.com is hands free, just call the toll free number and speak your message, so it's hands free. The voice recognition software from Jott will send them the message as a text message. You should check it out, Jott.com.
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