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Three Hundred and Sixteen Lines

Your Humble Blogger has begun rehearsals for the new play, in which I will be playing Sandor Turai in Rough Crossing, Tom Stoppard’s sparkling adaptation of Ferenc Molnar’s brilliant Játék a Kastélyban. I’m a huge fan of both playwrights, and am absolutely tickled to be in this thing. Although it’s a lot of work—I will not be posting and analyzing each of my three hundred and sixteen lines, as I will be concentrating on memorizing them. Some of the lines, of course, are nice short things like No or What? or To whom? or Perhaps a cognac, but I also get to say Naples has fallen below the horizon. Mother has eluded the Italian police only to come to grief in Casablanca where she is in the hands of the white slavers. Ilona finds Justin on deck. With luck, I will get to put a substantial level of thought and analysis into each line, but as for typing that all up for Gentle Readers, well, I think not. If I am lucky, I will have time to post my thorniest lines for your advice and support.

The play, for those who can make their way to Greater Hartford, will run in late May and June; if you don’t get an email from me with the info, let me know and I’ll get you on to my shill-list.

This is, I should just mention, pretty much the opposite of the last production. Where the last production was semi-professional, and certainly from my point of view was run more professionally and efficiently than any show I have ever been involved with, this next show is at the community that I talked about the last time I discussed community theater, a group of hippies who like to drink and put on plays and build a community. The director of the last play is, as I have said, Nearly Legendary; the director of this next play is a wonderful goof of a man who is younger than I am (and not much more experienced, perhaps). In the last production I was a supporting player with a lot of time backstage (including one stretch of more than 45 minutes); in this next show I am onstage from the beginning to the end, except for three pages in Act One, one three-page musical interlude and one stretch of about eleven lines toward the end of Act Two. And the intermission; I get to come backstage during the intermission, although I am onstage when the lights go down and again when the lights come back up.

What else… well, both plays are adaptations, although the last one attempted to be faithful in tone and content, while the next one says Freely Adapted on the cover, and means it, too. The last play uses a sort of heightened archaic speech that verges on tushery; this next play uses a sort of heightened thirties-style speech that verges on Archie-and Bertie-ry. Both plays and parts required some shouting; this one also requires wheedling, double-talking and possibly juggling.

And in this one I will wear a significantly smaller hat.

Tolerabimus quod tolerare debemus,
-Vardibidian.

Comments

please put me on the shill list!


It is neither totally out of the question nor totally unlikely at this point that I could be in Greater Hartford around those dates. Please to add me as well!


Ooh, i wanna go too. Pick me!


I'll drink to that!


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