August 5th, 2008
Dog Days of Summer Time to Start Thinking of The Fall Season
Dear CTNY Friends (and especially all PRODUCERS & DIRECTORS):
August, finally, seems upon us. Before you’ll even realize it,
everyone will be back in the swing of things; back to school, back on
stage, auditions, new seasons, and all the goodies that come with the
Fall season (although I myself am a Summer lover through and through).
The thought that in one month I have to wait another year for another
Summer is really depressing to me, but onward and upward. The Fall may
not be all that bad. Besides I can always fly down to Miami.
Anyway,
now is the time to begin planning your theater calendar and start
thinking ahead. Many times I get listings in the form of pdf flyers,
physical flyers, actual photos (meaning not digital) and I am just
getting that feeling that now – before the season restarts - may be the
best time to remind all you producers and directors out there that in
order to sell tickets you have to think strategically.
One
strategy is to time your release so that it hits in a manner that
maximizes the potential of getting someone completely new to your group
to actually purchase a ticket. People buy tickets for many reasons,
and the best reason to buy a ticket to your show may not be the best
reason to go to another. If for instance, you post your listings in
newspapers too early, the listing could be eventually dropped on the
week you open, and suddenly there’s no mention of the show anywhere in
your local newspaper. Except for the family and friends of your cast
who may be looking for the best seats, no one really plans too far
ahead to see a community theater show. To draw new audiences to your
show on the basis of the show itself is a tricky proposition. At CTNY,
for instance, earlier is better. The sooner you submit your press
releases and listings, the longer they are up on the site. That’s
good, because many people go the site when they remember a certain show
is opening and the listing is there 24/7. On our site, people come
back to link to your site or get the numbers they need to call. That
said, if you are planning any productions for Sept/Oct ’08 you should
have already contacted us.
Finding a “hook” that will attract a
potential audience member’s attention is also critical. For example, I
often get listings with every actor and production person’s name
mentioned in the listing. While this may be nice to the people
involved (and a real ego boost fro them), will it really sell a
ticket? I mean, unless I am related to the set designer or the lead,
do I really care? For those people, word of mouth and pre-sales would
probably work best…the ol’e “Get your good seats before we open it up
to the public,” pitch is the way to go. But in sending CTNY releases,
think in terms of drawing new audiences as you would any other local
newspaper or publication. But more importantly, think in terms of what
kind of readers log onto CTNY.com. If you understand your audience and
the user of the media you are listing in, you will have much better
results. While we have no studies as of yet as to who reads CTNY, I
can tell you who I do send it out to: mostly people just like you
interested in theater and involved in theater to some degree. Our
readers range from young talent looking to break in, to seasoned
producer/director types just like you and me.
A good portion
of our CTNY readers are also students and theater aficionados, people
who just love seeing as many shows as possible and understand that not
everything they’ve studied in college or wanted to see is readily
produced on Broadway. Community and independent theater offers these
people a chance to see a favorite play come to life. A hook for these
folks might be the fact that your particular production hasn’t been
seen on-stage locally in 20 years and this might be the time to catch
it. Why would anyone want to come see your particular show? You
figure that part out. Each show and each form of media used should be
treated independently and uniquely approached.
One new hook I’ve
wanted to introduce is the discounted ticket for people who mention
CTNY when they reserve. Maybe some of you would like to consider that.
This is always a good way to track how well not only the media you use
attracts audiences, but how well the message works. People don't always
buy based on discounting, but it is a good way to track wher you get
the most response from.
I am looking forward to more releases,
more contacts, more mailing list names, more ideas and more changes in
the months to come, so please don’t be strangers. Remember that the
best way to reach out to CTNY readers and connect with them is to give
them the information they want. For that, you can go on our “Get Listed Free” page and follow the format that fits best. This way, you can rest assured you’ll be listed quicker and stay on the site longer.
Break
a leg and enjoy the dog days of August. I am hitting the beach this
weekend before it starts getting too cold and the jellyfish come out.
Roger Gonzalez
Editor & Publisher
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July 4th, 2008
Best Production Ever...Fourth of July!
Dear CTNY Friends:
Since reading McCullough’s Biography of John Adams (I also watched a good if not highly condensed and at times fact-challenged HBO miniseries based on the same book), I’ve taken on a new spin, a different understanding of the meaning of our country’s independence and the significance of this holiday. And when I say “new,” I really mean NEW.
The fireworks on the fourth are a nice thing. Often, they are the best show in town! I still love them. But then again, who can’t love the spectacle of colorful explosions when they are meant to entertain and not blow up things. Even that booming sound in the distance when I am nowhere near fireworks does something special to me. As Met Fan, I sometimes would go to Shea Stadium on fireworks night and feel that booming explosion so close that I could swear it felt like a strong punch on my chest. I think what our forefathers felt was something akin to that strong punch on their chests, but this explosion came from within, from the heart. It was this undeniable explosion of emotion and anger and destiny that screamed from within that liberty not only was at hand, but needed to be at hand. A new republic fated to be the greatest since Rome itself was to be born. In fact, the Roman republic was very inspirational to our forefathers in building the framework of our politics.
I have never been what you would call a passionate patriot and quite frankly, there is much about this country that needs fixing. I did, however, always love this country and appreciate it dearly. I doubt had I stayed in Cuba as a child I would be as involved in theater, in websites and publishing as I am here in my new country. Learning more about John Adams really opened my eyes and I sincerely believe that we must all study a little more about what truly happened to make America the great country it is – in spite of some imperfections. Artists are often the most impactful of citizens and often the most outspoken. I am seeing things a bit differently this Fourth of July. And (I hate to preach) but so should many of you.
This is a theater related website, so I don’t want to talk politics or philosophy, but to tie things in, I think we need to remember that the fourth of July is more than what we observe in shows like 1776 (which by the way is being heavily promoted by MTI these days.) What we need to do is look at the harsh realities of what the early congress and the early forefathers endured to bring to fruition this great nation: sweltering congressional summer sessions, plagues, economic hardships, war, family separations that lasted years for men such as Adams and Jefferson and much more. We are so damn fat and spoiled! We need to take some time to really appreciate where we are and what we need to do to not only improve America, but better appreciate what we have, because these men did the hardest work for us.
This Fourth of July I want you to really feel the significance of the holiday.
Tonight, the Rockaway Theatre Company in Rockaway opens with Meredith Willson’s The Music Man (see the Roger's Review Page for a full review). I hope to see it this weekend, but I was surprised that they actually had a show on July 4th in the evening. There’s no way I would miss the fireworks to sit in a theater, any theater for that matter. When I see them I’ll have to ask how many people actually came to see the show. Many of the folks at RTC would be mad if I steered you away from their show, but what I have to say to that is "NO! " That is the beauty of what we've gained from this great country...the right to choose what we want! If you prefer to see the show...go see it! These are my friends, so I do wish them good luck either way and will write a review for this week’s issue of CTNY. (I know deep in their hearts they are still celebrating the Fourth by doing what they love to do): express themselves freely in their art.
On that note, they too can thank John Adams.
Have a healthy, safe and significant Fourth!
Roger Gonzalez
Editor & Publisher
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June 23rd, 2008
What a Parade...I had a BALL
Dear CTNY Friends:
I've heard some people ask if last week's Mermaid Parade in Coney Island, the 26th annual by the way, would be the last. My answer: No Damn Way! I can't imagine that something that much fun, that harmless, that nostalgic, that...NEW YORKISH could ever go away. If I have anything to do with it, there's just no way we should give up a treasure like Coney Island, the Coney Island Freak Show & Burlesque, The Museum, all those great structures and attractions to glossy high rise condos and malls. Don't we have enough of that shit already?
I'm all for progress, don't get me wrong. But I think Coney Island is an American landmark. What we need to do is not change it, but find a way to keep the character of this great historic spot intact. And if you were at the Parade and Ball as I was this week, you would fully understand.
(For a full photo album from the days activities, visit our "Mermaid 2008 Pix" page)
Figure it this way: where else can you find a costume parade and ball on a sunny day, walking distance from a dip in the ocean, surrounded by festive music, people of all colors and classes and ages and cultures mixing peacefully and just enjoying life. Even the kids love it!
If you've never had the chance to visit the Mermaid Parade, don't miss the next one. Yes, I have no doubt there will be one and I'll be there.
As for Burlesque...here comes the show. Let me know if you see anything out there that is fun and I'll do the same. visit: (http://www.coneyisland.com/mermaid.shtml.)
Have a great Summer,
Roger Gonzalez,
Editor and Publisher
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June 17th, 2008
The Summer Wind
Dear CTNY Friends:
I love the summer! And it occured to me just this past week that one of the reasons this long time New Yorker enjoys summer so much is that Burlesque returns to Coney Island on the heels of the world famous Mermaid Parade on the boardwalk this coming Saturday, June 21st at 2pm (http://www.coneyisland.com/mermaid.shtml.)
Technically not community theater, I still want to cover it (or uncover it as the case may be) simply because it is novel, somewhat akin to amateur theater and hardly the lofty stuff of Broadway. This is theater for the love of theater, or more appropriately entertainment for the love of entertainment. Many a great face (and body) has graced the community theater boards at one moment to be seen later in some Burly-Q show (A.B., I am talking to you!). For those of you who just don’t get it, we’re not talking stripping or gratuitous sexual inuendo here, but outright fun and humor, dance, theater and pure entertainment at its best that is just different enough to make for an unforgettable night at a price that won’t break you. Look for that Burly-Q page on CTNY in the next few days.
Summer also means FringeNYC. Also not technically community theater either, many community theater folks work the FringeNYC festival and some of the best productions I’ve ever seen are part of this FringeNYC festival (http://www.fringenyc.org/.) The festival runs from August 8th through the 24th. If you have not caught a FringeNYC production in the past, please try to do so this time around. If you would like to be in one, check out Backstage for auditions marked FringeNYC. The Coney Island Freak Show is always a big hit too if you are up to somethig unique and there’s nothing like catching a beer and hotdog at Nathan’s after the show to ponder the significance of it all.
Have a great Summer! Make it different.
Roger Gonzalez
Editor & Publisher
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May 19th, 2008
Blog That, Amigos!
Dear CTNY Friends:
There’s the actor that is sitting backstage before going on, but instead of going over his lines for this show, he’s sitting there reading up on his lines for his next show. Then he goes onstage and flubs his lines.
Then there’s the director that commits to directing a show and two weeks before opening night, she finds she’s doing the set design, costumes, ticket sales, marketing and stage managing!
How about the drunk actor? Or how about that guy that happens to build the sets for a certain group and somehow miraculously always get the part he wants? And the producer who swears up and down that the part hasn’t been pre-cast in spite of the fact that everyone in the group knows who’ll get the part…and that person does!
Starting this week, we gripe about the rights and wrongs we encounter in community theater in our new blog. Got something on your mind…or want something off your chest? Look for it, starting this Monday on CTNY.
With a few tips mixed in and some great do’s and don’ts, it’s a new featured page your sure to want to read!
Enjoy the week,
Roger Gonzalez
Editor & Publisher
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May 9th, 2008
Ideas For Mother's Day...
Dear CTNY Friends:
Ah…what to do for mother’s day? Hey, I have some ideas.
On Wednesday night I had the opportunity to watch act one of The Outrageous Fortune Company’s rehearsal for Paul Rudnick’s Regrets Only, directed by Bernard Bosio, which opens tonight for a two weekend stint at Theater in the Park in Flushing Meadows Park. Far from trying to review what was a somewhat raw rehearsal (you will find Malini Singh’s review of the actual production this weekend in CTNY), I have to say this show looks really sharp and very funny. I am not going to get into any details here, but it appears these folks have a hit on their hands and have done justice to a very, very funny and witty script. The actors all look great, they had wonderful moments (even though it was interrupted a few times) and it looks like Bernie did a fine job directing this new comedy, which is being seen for the first time ever in Queens. Mind you, this was without costumes and barely any sets. Now I will admit Bernie is a friend, but I’s rather say nothing about it if I didn’t like it…I seriously liked what I saw. And there’s even a mom in the show so if you bring your mom at least she won’t be alone!
Regrets Only is about marriage and relationships (gay and straight), politics, religion and enough adult themes to make for not only an entertaining and at time hilarious experience during the show, but I am sure quite a bit of followup discussion afterwards. I strongly recommend you catch this show if you can. The space (my frist time visiting this venue in Theater in the Park) was really a neat space, although a bit hard to get to if you don’t plan ahead. If you are driving, it should be no big deal and there’s plenty of access to the park and lots of parking. Check out their site at www.OutrageousFortuneCompany.com for directions. If you go by subway, take the 7 train and they provide a shuttle that picks you up at the train station and drives you right up to door. It’s a cool idea but you need to get there on time. By all means make the effort. As a bonus, you might even get to meet the very charming producer of OFC, Ron Hellman. Tell him I said hello.
At the Heights Players, R&H’s Carousel, directed by Tom Tyler is playing to full houses and even special benefit audiences on Thursday evenings. It will clearly be one of their biggest hits of the season (Yours truly’s Anna in the Tropics being another big hit for them this season… I can proudly say!). This show is definitely for the whole family…but call early i you want to get in!
Another big hit is Rockaway Theater Company’s ANNIE in Fort Tilden, but then again ANNIE is almost always a big hit. This one however is offering a special Mother’s Day Benefit on Sunday afternoon and has some incredibly talented cast and direction.
If that’s not enough, you could catch the opening weekend of “And Then There Were None” at Narrows Community in Brooklyn, the second weekend of Beari Production’s musical review, “Magical Moments VII” in Middle Village, or just check out the NOW PLAYING page on this site for m ore ideas. All in all, taking your mom to the theater (or just going yourself for the hell of it) is a very nice way to spend the weekend.
I’ll be at Regrets Only Saturday so if you go, look for me, say hello and tell me what you think. I always enjoy meeting my readers.
Roger Gonzalez
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April 25th, 2008
MAY is Theater time! 
Rodgers & Hammerstein's Carousel Rehearsals Underway in Brooklyn Heights
(Heather Rochelle (L) with felow cast members pictured) (Photo: Jan Vanderputten)
Dear CTNY Friends:
May is one of those busy theater months when more than the average share of opening nights can be seen. I can tell you from first hand experience that I’ve produced, directed and performed in more May productions than I'd like to admit. Simply put, the month of May is a big deal in Community Theater and the competition is high. It’s like the Summer movie season but with millions less involved. For some groups, a good season finale is critical, especially if everything goes dark until September. So here’s your chance to prepare and decide which shows you want to see and which you want to skip .
At the Heights Players in Brooklyn, Carousel is knee deep in rehearsals as “hell week” approaches, but I can tell you from sitting through many of their rehearsals that this show is in very fine shape. Not that I am reviewing (or previewing as the case may be) the performances, but these leads are vocally amazing. Hell, even the chorus is dynamite. This is one tight production.
I have hung out in the back of this theater now for weeks catching up on my reading (Cicero, Augustus and now John Adams…in case you wonder) while my daughter Ella rehearses (with Abigail Jones as Nettie) (Photo: Jan Vanderputten)
and more than once have I been distracted by what is shaping up to be a beautifully directed show by Heights veteran Tom Tyler and the musical direction of Ethan Wagner . With another full week of rehearsals to go, I’ve already spotted some standout potential in two newcomers, Heather Rochelle (as Carrie) and Abigail Jones (as Nettie). Paul Wrona as Billy Bigelow and Julie Jordan as Emily Wright, Matthew Minogue as Enoch Snow have also impressed me. I’ve never even spoken to these people (I promise), so I can still say I am objective in this assessment. If they’ve wondered who the hell I am, well, I guess now they’ll know I am not just Ella’s dad but someone who's paid attention. I won’t review the show, but I can tell you what I’ve seen!
As I have said before I am not a big fan of Rodgers and Hammerstein, but this cast is just too talented, too energetic, too dedicated and too pretty to pass up. And wait till you see the sets. The show opens Friday May 2nd and you can get all the information you need by linking to www.HeightsPlayers.org.
Over in Flushing Meadows Park, at Queens Theater in The Park, another promising production is shaping up. The show is directed by fellow reviewer, friend and troublemaker Bernard Bosio. The play is Regrets Only by Paul Rudnick (I Hate Hamlet) and except for a Manhattan premiere in 2006, this marks the Queens premiere of the relatively new play. A comedy, dealing with controversial matters concerning marriage, sex, homosexuality and friendship, Regrets Only, produced by The Outrageous Fortune Company and under Bernie’s direction promises to be a unique opportunity for audiences to catch something outside of the norm. This group plays in a real theater and is not really considered Community Theater (not that there's anything wrong with that) so you should try to catch it. The show opens May 9th and information can be obtained by going to their website at http://www.outrageousfortunecompany.com.
Finally, my old friends at the Rockaway Theater Company in Fort Tilden, Rockaway are busy getting ready to open one of those classic and ever reliable hits, ANNIE. I have a soft spot for this show and have been involved in two productions of it. But while I have not seen any of the rehearsals, word is already getting out that it’s shaping up beautifully and promises not to disappoint. This doesn’t surprise me! Kathy Valentine, co-director, is an old friend and one of the most talented performer/directors in Community Theater. Everything she touches turns gold. You can bet that her and her co-director, Frankie Caiti (also an old friend, but one who always fails to come see me in my shows…hmmm) are going to put up a great production. Like Carousel, this is a show for the whole family. Plus going to Rockaway in May is always relaxing and enjoyable. I encourage you to go see this production…I will.
(Jai Sada as Daddy Warbucks with Janna Sturgis as Annie)
RTC’s ANNIE opens Friday May 2nd, but they also have a special Mother’s Day Matinee benefit on May 11th, so if you want to take mom somewhere
different check out the website http://rockawaytheatrecompany.org or call their hotline for more info.
Enjoy the month of May!
Roger Gonzalez
Editor & Publisher
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April 10th, 2008
Due to Technical Difficulties….
Dear CTNY Friends:
Try something new it sooner or later Murphy’s Law comes into play. And so for a few weeks, due to technical difficulties, I’ve not been able to update my site. My apologies to one and all! I am afterall fairly new to this...
And what a shame, because things are starting to heat up and I am not talking about the weather… although if you notice that I’ve added a new Children’s Theater page to the site, you might also notice that there are two brand new, original children’s shows now playing. Is it a coincidence or timing that both deal with the Seasons? I don’t know, but both are just too good to miss up and they are running one more weekend, so hurry! If you’ve always wondered what the seasons look like, just go to their production.
Spring is For The Birds is at Maggie’s Little Theater in Queens and the other at Brooklyn Heights at The Heights Players. Their show is called Mother Nature's Seasons with Whoosh-Crackle-Drip. Both are colorful, entertaining, great fun for the kids and a great bargain. If you miss these shows, look for The St. Mary’s Drama Guild children’s production of The Wizard of Oz opening this week! The wizard will drum up any kind of weather you like and make a big deal out of it.
Also at The Heights is Moss Harts’ Light Up The Sky. You can read Bernie Bosio’s Review before the show ends its run this weekend…my apologies to those folks too! And to Bernie for publishing it so late. My fault completely. I promise I’ll learn my website production thingy a little better moving forward.
Hurry to Jesus Christ Superstar’s AUDITION tonight and this week in Brooklyn (Auditions Page) and remember to send me any updates, listings or auditions to Publisher@communitytheaterNY.com as soon as you can. To get listed faster, follow the instructions on my site.
Thanks for your great patience and for keeping me on my toes!
Roger Gonzalez
Editor & Publisher
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March 1st, 2008
There's Community Theater... and There's COMMUNITY THEATER
Dear CTNY friends:
Susan Montez, the director of the Heights Players’ latest production, Musical Comedy Murders of the 1940s, sat pensively in an empty seat, drink in one hand, cell phone in the other with a look on her face only a director can fully understand. It’s that kind of look that says “opening night is finally over, all is good…or as good as it could get for opening nights.”
At the Heights, opening nights are usually followed by a small party and we were already towards the end of the festivities, so you could tell she was finally settling down…she had been praised, kissed, hugged, congratulated, teased and been hit with any number of comments a director could possibly hear after an opening night. Floating around her were cast members, students, Heights members, one reviewer I knew of (me) and a few lingering audience members. But she was clearly “alone.” She was in that zone that directors fall into when weeks of rehearsals, planning and agonizing over any number of details is finally over; the baby was born and now all you could is sit back and let it live…or die. Theater is a wild art, you conceive, you nurture in the womb, you give birth, but there’s no room for parenting once the beast is born. It was a perfect opportunity to slide in next to her and get her to reveal her real impressions, maybe even dig out a sense of what she really thought of the night’s events. Instead, what we talked about was something close to my heart and one of the reasons why I started this website in the first place.
Susan had heard lots of praise I think that night and I am sure one or two naysayers had expressed that vague, often used, “looks like a great deal of work went into this production” at some point. But from my perspective, this show had been quite a surprise ( for a full Review of The Heights Players Musical Comedy Murders of 1940’s read my review on the Roger’s Review Page ).
There’s Community Theater and then there’s community theater. In our conversation I told her exactly what I thought of her show and we discussed how some groups are just plain exceptional while others continuously fail to deliver in spite of repeated efforts. In her opinion, the Heights Players are really not your usual community theater. I have to agree that if you’ve walked into one of their productions lately that first impression you get when you see those amazing sets created in that space is enough to validate such a bold statement.
Like the Gallery Players and Rockaway Theatre Company, Theatre Time and Outrageous Fortune Company, the Heights Players often present the type of quality that is at times better than some of the fare I’ve seen off-Broadway and even on Broadway. These groups represent the cream of the crop. I knew exactly what she meant.
I had created this site in part because I felt that often many of these very great community productions didn’t get the recognition and audiences they deserved. With community theater (at any level), the problem is sometimes a lack of understanding on how to market a show, or perhaps something as simple as picking the wrong show or playing during the wrong time of year, like on a holiday weekend or during the Super Bowl. I’ve seen great talented groups in great spaces come and go simply because parking was hard to find or public transportation was just not accessible to the venue.
Susan and I also share a belief that community theater should always strive to be the best. I knew exactly what she meant by her commnet and we discussed it. Understanding that casting may not always go the way you want or that budget limitations or short rehearsal schedules could throw you off the path, we both agreed that it is still every director’s responsibility to learn his or her craft and do it right. As a director myself, I know that little things like fake looking props or anything that is not period (for example wearing modern construction boots in a 1960’s drama like Cuckoo's Nest) is enough to take the viewer out of the experience. But the thing we also discussed is how some groups just manage to pull it off and some don’t.
As an extension to that discussion, all I can say is that this site is here to get the word out to everyone who cares. I admit that everyday I poach countless email addresses from related sites, magazines, and even emails from friends of anybody I think might be interested. I do it because I hate seeing a great show in an empty venue…the audience, their support, their reactions to the actor’s words and actions are what make theater. But on the flip side, to all those directors and producers out there that like to take short cuts and cut corners, please heed my advice that we can all, together or in small steps, elevate the quality of community theater.
These directors should build a set that works within budget but looks good, whatever it is that works for you, finish it for God’s sake! Put your actors in costumes that make sense or shake the audience’s sensibilities with something creative, even if it goes contrary to the norm. Be bold! But the message I think is so very important to many of you producers and directors is: never give up. Theater can look like shit one night and then be great the next. Motivate by example, show your actors that you’ll never give up on them and they will deliver for you and for the audience. Push your techies to exceed and they will. The devil is in the details...and so is theater.
Community theater should not be a bad word…much less a bad thing. It is theater that is in the community, by the community, for the community. Major league athletes do it for money and maybe glory. Professional actors may do it also for money and perhaps fame…we should do community theater for the love of the art.
This Heights production was and is community theater. And they should be proud…because it is community theater of the highest quality. Susan should be proud...and I think she was.
Roger Gonzalez,
Editor & Publisher
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February 18th, 2008
Closing a Show is Bittersweet
Dear CTNY friends:
Cast from L - R: Bernard Bosio (CheChe), Emmanuelle Bordas (Marela), Roger Gonzalez (Santiago), Doris Martir (Ofelia), Bernardo Cubria (Palomo), Justine Campbell-Elliott (Conchita), Jeremy Goren (Juan Julian) and Dominique Perez (Eliades). Director Ted Thompson in red shirt and in picture on the right.
Last night I closed in Anna In The Tropics. Some of you will be glad to hear the last of this since I know I've sent maybe one too many emails about this production. But I perform in so few shows lately that coming across such a great role and such a great cast and production is rare...so like a proud papa, I talk about it quite a bit.
So this will be short.
It is an open thank you letter to all those folks who came to see our show (I kept close track, don't worry!) and to the wonderful cast and crew of this amazing production. We had great audiences, great performances, made special new friendships and created memories that will linger for a long time. I was lucky to work with a director that was talented and challenging and a cast that was nothing short of professional, extremely skilled in their acting craft and generally a great bunch of folks. The crew blended in beautifully and I can see remaining friends with every single person in this production for years and years to come. I always talk about how I do this for one reason only: fun! This production more than delivered. I also learned much and grew as an actor I think. And for that, I thank each and everyone involved in ANNA. A special thanks to my daughter Ella for working on this production backstage alone in the dark, moving sets, and having to sit quietly for two and half hours each night, to Bill, Kris, Chris, Gina, Fabio, Peter, and Steve and everyone who pitched in and helped. And to Nilo Cruz for creating magic with some simple poetic words on a piece od blank paper. I am proud that he is a fellow Cuban and that he created Santiago, and in turn, gave me the opportunity to be him if only for the past few weeks.
"I have lost you Ofelia?...I have lost all my ANNA friends? I don't think so..."
Roger Gonzalez,
Publisher, CommunitytheaterNY.com
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February 2, 2008
Backstage at ANNA in The TROPICS
Dear CTNY friends:
I love opening nights. After weeks of rehearsals, learning lines, bungling through blocking, spinning backstories for your character, building sets with little or no money, marketing, promoting, arguing, eating too much Chinese food or nothing at all and sleeping five hours a night, it is finally that one moment when everything has to come together whether or not you're ready. Last night we opened Anna in the Tropics at The Heights, and the experience was just amazing!
At the Heights, opening nights are really intimidating. Everyone who is anyone at this fifty two year old theater company is in attendance. From John Bourne who is the Heights House Manager and a member since its inception fifty two years ago to long time Heights directors (Jim McNulty, Paul Falcetta, Heights president Ed Healy), a slew of fellow actors, media, family members, loyal season subscribers, board members and more, the audience is just one face after another of saavy theater veterans. It is enough to make one get the jitters. And the jitters I did get.
On the flip side, every opening night at The Heights is followed with an opening night party, food, friendly faces, and lots of moral and emotional support from an audience that in actuality is quite friendly, understanding and supportive of how much work it takes to put together a theatrical production. So after a "hell week" that truly was taxing on the body and mind, the games are finally afoot and The Heights are now officially converted to a warm, tropical cigar factory in Ybor City circa 1929. Well, that would be with the exception of The Heights Children’s Theater production of Cinderella which is running during the mornings and days on weekends in February on the same stage.
Last night went exceptionally well. A few times I know that I personally re-wrote or paraphrased a line or two here and there, but we knew the scenes well enough to keep going and many of these vets didn’t even notice…so we did something right I guess. I do apologize to our director Ted Thompson and playwrite Nilo Cruz and promise to keep it as close to the book as possible. And well, I think I only had two or three minor infractions in all so it was probably worse in my mind than anywhere else. But that’s live theater.
I know that for some time now I’ve been emailing folks left and right and been telling them that show is that good…even after last night, I still believe it! But I’d love to hear what other folks have to say and I am inviting anyone who sees the show to freely send in their review of our show and my performance. Some in the audience teased me that since I write reviews, I should write a glowing review of my own show…but we all know I can’t do that. So the ball is in your court.
Come see the show and send me an email. Be truthful. I’ll publish it.
For now…I am heading back to theater very soon and can’t wait for night number two. I already miss my fellow actors, our amazing director and all those folks backstage that helped us recreate Tampa, 1929!
For a review of the show, click on the "O'Hare's Review" page
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January 21st, 2008
5th of July leaves an Impression!
Dear CTNY friends:
As I work on the last two weeks of rehearsal prior to the opening of ANNA IN THE TROPICS at the Heights Players, I happen to experience something that sooner or later affects all of us who have ever worked on community theater productions: the dreaded end of a run.
Having missed the show running in January at the Heights, Lanford Wilson’s Fifth of July, until last night (its closing performance) I am reminded that one of the worse things to happen in community theater as opposed to, say, an extended off-Broadway or Broadway run, is that our productions have a limited life cycle of two to three weekends at best. If the show sucks, or the cast doesn’t get along or you are just sick of humming that same, catchy musical tune day in and out, in the shower, on the subway or EVERYWHERE, then good-riddance! Move on and do another show. With community theater, you do get to experience a lot in a short span of time. But when the play is one as good, as well acted, as well rehearsed as Fifth of July, it really is very sad to see it go.
I wish I had found the time to catch and review this show earlier! And while I do have one or two good reviewers out there helping me (Bernie Bosio and Mellisa Fallon), I do wish more folks would come forward to volunteer writing reviews for CTNY so that we don’t miss out on good shows like this. Fifth of July did not deserve to go just yet, even though it is my own production of Anna in the Tropics that is coming in to replace it…and I mean that.
What I am about to write here should not be considered a review, but rather a eulogy for a great show that ended before its time. What I am writing about is that feeling that comes when someone builds a beautiful set, a great show, an endeavor of love and then you have to come in one day and pull it all apart, throwing the scraps and nails aside to be reused for another production like I had to do last night. I did what I had to do, but I want the cast to know that I wasn’t moving in like some vulture thinking only of me and having no disregard for what they had created.
Take a look at this set (set design by Gerry Newman with an assist by Bill Wood) It was like being on a Broadway stage or a soundstage for a movie. We should have kept it one more day and filmed something on it…anything! But as it so happens, the Heights do nine shows a year and one of our responsibilities as actors in one production is to usher and help with the current production. This one kind of hurt and I find it odd because I barely know the cast or crew with the exception of one or two Heights regulars. So its not that I have emotional ties here, really.
Paul Falcetta (who I in fact just recently met) directs a beautiful show that not every director would “get.” There’s something on that stage that comes to life and can only be helped by choosing talented actors, showing them exactly what to do, where to go and WHY. Paul has managed all that. He conducts them to life. Everything from the pacing, to the delivery of lines, to the crescendo of emotion and drama, to the blocking, lighting, musical underscore and set design is tight and well orchestrated. What a nice production.
Not one actor on that stage was less than spectacular. Each is committed from the start and they all carry their parts with grace and purpose, building a story that resonates long after you’ve left the theater.
I suppose if I had just left and been able to think about it, it would all be fine. But later having to tear down those beautiful walls while working side by side with Caitlin Graham (who played the wacky, drugged out Gwen Landis) and the young but very talented Alexandra DeSantis (who plays the self-involved teenage daughter Shirley Talley), I couldn’t help but feel somewhat guilty. These young ladies seem lovely and talented and probably are great actresses to meet and talk to, but I just could help but feel I was destroying something magical that they had built. I wish I had talked to them more and gotten to know what experiences they drew on to create those characters or what they were like in real life it all would have been good to know. But in fact, I was glad to run out of there at 6PM for my rehearsal call upstairs. But if I didn’t tell them enough, damn they were great. To all in the cast, hopefully we’ll get to talk some more sometime.
At the end of the night, after my rehearsal upstairs, I returned and most of the actors had left and only the crew remained in what was now a completely bare stage. It was now being prepped for Anna's set. It was good to know that our show was moving along, but ghosts of Fifth of July still haunted me. I have to do better to catch these productions earlier and I hope you folks out there care enough to do the same and keep us informed.
(And if I haven’t said it enough, it is why you SHOULD catch Anna In The Tropics, dammit! Okay, I plugged it again)
Community theater is like owning beautiful, exotic fish. It’s colorful, its captivating and it draws you into a controlled (in this case aquatic) world, but sooner or later that beautiful glowing fish will float. And if you missed it..what else can I say?
See you soon,
Roger Gonzalez,
Publisher, CommunitytheaterNY.com
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