Block 543: December 8, 2014

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Monday, again, and my mind is anywhere but here.

Date: December 8, 2014

Crane: 543

Days Spent on Project: 658

Location: NW Portland, OR

Person I would have sent it to: Priscilla Queen of the Desert should have been a project that inspired me. It should have been an experience that I was proud to be a part of. It was something I wanted on my resume. I wanted that job.

And it wasn’t.

After the euphoria that was bringing Fela! to Broadway in 2009, and then the huge learning curve (but still enjoyable and very educational experience) that was Come Fly Away, why did Priscilla feel like a black hole?

I don’t think it was for any one specific reason, nor was it a specific person, so I should venture lightly here. I do feel like I burned one bridge, unknowingly, with this production. And I can’t say that I regret that; I’m just confused by it. I’m probably better off because of it. Perhaps.

The Associate Costume Designer on Priscilla was a working acquaintance of Amy C., the Associate on both Fela! and Come Fly Away. I know she’s the one who initially recommended me for the job. She’s the one who got me in the running. And I do thank her for that. I do enjoy, I’m proud of this fact, that she thought I could tackle the job.

Brian hired me almost immediately. I started working with him the next week, for what would turn out to be a very stressful 12 weeks. He’s a good associate. I learned a lot from him. I experienced a lot from him. I’m glad that I actually have him in my life as someone I worked with… back on Broadway and back in New York.

I actually learned a lot from him, and those lessons were all personal more than professional. They were how personal things and professional things shouldn’t mix. I always hesitate going out for drinks with people that I’m working with now because of that show and those experiences. I know that makes me a little more “aloof” in the eyes of theater people, but a lot of things get said. You see a lot of things. Things are interpreted weirdly.

There could be a chapter here, and a lot of words could be typed, so Brian certainly deserves a Crane. Sure.

But I’ll leave it at that.

Music I listened to while sewing: I’m at work. Nothing’s on at the current moment.

So, I just turned on the Spotify playlist for The Drowned Man. Still really wish that I had managed to find a way to get to London to see that production. The word on Tumblr is that the building used for the production is (partially?) going to be torn down soon.

Theater… transient for sure.

Thoughts/Feelings behind the block: A friend of mine posted an article on Facebook this morning, something that was both “awesome and infuriating” at the same time. One Arts organization in Brooklyn- a space informally dedicated to younger, emerging artists- was closing up shop and heading to Detroit. It’s a fairly well established organization (I had been there for a few parties some years ago), with a lot of support. How is that place not able to make it?

Rent. Costs. Money.

I keep romanticizing the New York I just left less than five months ago. Yes, a part of me is trying to find a way to get back there, but recharged and refocused after this brief time away. I like the idea of New York. I like its resources. I like its inspiration. I like the ambition and drive and energy. It’s where theater goes to hit a high note.

But if I were to go back, with the same plan of working freelance, would it be possible to survive? Would I get worn down and raw again, just like I was before? Is access to so much Art and so many resources worth it if the struggle to stay afloat is a constant threat?

Why aren’t more people leaving to make “art” elsewhere?

This is how the regional theater movement started in the 60s and 70s; why isn’t a new generations restarting that movement? (Because, I will tell you this: regional theater is also needing to be re-examined. Art isn’t *always* here either anymore, when all your choices are made because the bottom line or a committee rules all.)

Anyway, back to itemizing receipts!

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