MAGIC, MOJO, AND THE LAND

I am a magic thinker. I see secret signs in birds, trees, if a song comes on the radio or in the store or wherever. I believe all things are connected by The Force, by Cosmic Strings. 

By the power of my mind.

This may or may not be a good thing.

But there it is and I really can't change it. 

I suppose some of my self-styled mysticism comes from my mother, who had many of the same traits. She found "The Land" to have magic. And when she said "The Land", there were always quotations marks around it. You could feel them in how she said the words. And I believe "The Land" to indeed have mojo. There is something in the Earth, in the soil, the trees and flowers and fields of corn. There is always a feeling I get when I look to the West, East, North or South. A connection to greater things, larger ideas that can possibly fit in my tiny little human sized brain. 

I am thinking on this because one of the ways I manifest the magic is in totems. Items. Action figures, show shirts, actual photographs, virtual ones too, coffee mugs. 

And hats.

I just got back from California. And I had just got a hat at Disney's California Adventure. A really good one, featuring the logo for Guardians of the Galaxy. Sometimes you find a hat that just feels right. Like it belongs on your head. This was one of those hats. I wore it every day for the past week.

Then I had rehearsal for Chamber of Secrets. It's a kids show I'm doing up at Reel Kids. And this one has 29 real kids, grades 2-5. 

Sometimes I think it should be called Chamber of Horrors. 

It's just a lot of kids to have in a show. Especially when it's just me and one assistant. Things can get a little hectic. 

And by hectic I mean totally insane.

So yesterday, as I'm trying to direct the final scene of the show, and with no assistant due to college finals, one of my little cast members pulled my hat off my head. I didn't have time to grab it back, as I was trying to keep things in a semblance of control.

And I forgot all about it.

Hours later, after that rehearsal and then another one for a production of Little Shop of Horrors, also at Reel Kids, as I was finally heading to my car for the hour drive home, I reached for my hat, and realized it was still with that kid.

I searched the entire theatre space twice over, hoping that the kid had set it down somewhere. 

No such luck.

So for the next couple of hours, I obsessed over my hat.

Because it has mojo. Magic. Power. The Force.

And around midnight I thought to myself, "I am a magical thinker, and I dig that, but this is too much." And I tried to let it go. 

A hat is just a hat. Nothing to lose sleep over. There are far more serious things in life.

That didn't work.

Then, I realized that the Hat was going on a journey, organized and orchestrated by the Mojo Gods of Headgear; that this was meant to be; that I had actually fulfilled my destiny. 

And sleep came.

Here's a song. It's Magic Carpet Ride by Steppenwolf.

LET THEM DIRECT CHILDREN'S THEATRE

Writing earlier today. Still wiping the sleep out of my eyes, shaking the cobwebs out of my brain, and looking for solace in a cup of coffee. Well, a cup of espresso as I wait for the water to boil. 

I saw several headlines about inflation yesterday, and how we are all supposed to be angry at someone. about it. Biden. The GOP. Putin.

Now, I do think Putin is a horrible person, and the GOP has really become a strange party that either is run by a bunch of feckless liars, or is crazy and actually believes a lot of bizarre notions. Global warming is fake. Trump won. The world is flat. Ted Cruz.

All sorts of crazy shit.

But I don't blame inflation on any of those folks. And I am not really furious about it. Yeah, I pay bills, and gas prices are up, and groceries cost more. They do. But it always feels to me like the market, that mysterious Market that runs the world, is to blame. And who or what is the market? A small group of aliens living in the middle of Iowa? The Illuminati? I don't think so.

I think the Market is just a bunch of greedy, out of touch people who don't really enjoy living all that much and so try to run the world via corporations. People who, like Grand Moff Tarkin, try to grasp theirs hands around the world, but the tighter they try to hold it, the more of it slips through their fingers.

They are the kind of people who want to control everything. And since they are these sad, lonely, out of touch types, they don't really do anything all that helpful for the planet that often. 

It sure seems that way to me.   

I think, for the betterment of the world, every CEO and world leader, every millionaire and senator and member of parliament, every dictator and royal, should have to direct a children's theatre play. One with like thirty cast members, and one assistant. And they can't use any of their money to hire more people or have someone else actually direct it and then take the credit for it. They have to get down in the trenches and work with the little actors. They have to figure out how to make them memorize lines, go where they are supposed to go in a scene, make each of them feel respected and a part of the show. And a to no peek out from the curtains to make sure their parents are in the audience. 

The main problem with this plan is that a lot of them would probably turn out to be horrible at it, and spend the whole time yelling, trying to get the cast to behave itself. Direction by screaming. I've seen it. I've done it once or twice, but it never works. 

Still, it would be a good start. An attempt to humanize the powers that be. 

Maybe they just need to find love for their fellow human beings, and for themselves. 

I don't think, if someone truly felt love, they would engage in price gouging. Or bomb hospitals. Or storm the Capitol. 

Man, I am such a hippie. 

Maybe, instead of directing a kid's show, they should have to write a blog, every day, first thing.

Yeah. 

Here's today's song. It's Stone Cold Crazy by Queen. 

THAT'S MISTER SQUEAKY TO YOU

I teach theatre to kids. Have for many years now. When I first got to Denver, I was a starving artist, a playwright and actor who had lived in many a small apartment in NYC. Suddenly, I was getting married, living in an actual house, and my responsibilities changed. I needed to get a job. In New York, I had waited tables and made enough money doing that to stay afloat and do my thing. But in Denver, the job market was a bit different. I did some temp work, catering, and so on. And somehow, I started teaching children's theatre. First at a little place up in Boulder. I had no real plan, so I just talked to the kids like they were people. And that seemed to work. We did shows like Aesop's Fables, and The Arabian Nights, mostly from smaller theatre publishers who specialized in young people's theatre. The scripts were for the most part awful. So we would do what we could to fix them. And they turned out pretty good. 

On my very first day, it was raining. We met in a school gym, and the floors were wood, which made my shoes squeak. One of the kids asked me if she could call me Mister Squeaky Shoes. I said sure. By the next week, the "shoes" part of the name had vanished, but I was Mr. Squeaky. And my career as a theatre teacher began in earnest. 

That was over ten years ago. I've worked at many a theatre, all over Denver. And I now even teach adults. They're are not quite as fun as kids, but I do enjoy it. One of my jobs is with StageDoor Theatre, up in Conifer, which is a little mountain town about an hour from where I live. I got hired to replace a beloved teacher who had left for greener pastures. Our first show was How to Succeed in Business without Really Trying. It was for their high school program. We had a limited budget, way more girls than boys for a show that had way more male roles than female, and at least half the cast was looking at me askance, wondering if I could possibly replace their former teacher. Somehow, we pulled it off, and so began my ongoing relationship with StageDoor. 

The theatre is small, but mighty. There is a love of theatre there that is genuine and intense. I love it. 

This past year, we were about to open Sweeney Todd when the shut down happened. Like, we were going into tech week, and suddenly, the show was gone. And it was going to be fantastic. The cast was into it. I was into it. Things were clicking, and everyone was reaching new heights. Losing that show hurt. And one day, I really hope we can do it. We shall see. The theatre had to close all its shows, for almost an entire year. Which hurt, both artistically and economically. 

Finally, we are back, and about to open a show I wrote called Gleeful. It's about a high school show choir, and may remind people of a certain tv show. To quote Mick Jagger, the show is a gas, gas, gas. 

Just being able to do theatre at all is a gift.

And we want to do more. But money is tight, so I suggested the theatre do a GoFundMe. They said fine, as long as you run it. 

So I did. My song for you all today is a video I made from footage of Monday's rehearsal. The song is Candles. The show is Gleeful. The theatre is StageDoor. Hope to see you there. And if you can, please kick in a few bucks, and then share the page. It's good karma.

SOMETIMES A GREAT NOTION

So this morning, at the sort of early Eight-thirty call time, my young cast of Honk! at Reel Kids was looking bleary eyed, half-asleep, and in need of some energy. Usually, we start rehearsals with a quick physical and vocal warm up, followed with some improv. That way all three of our basic tools- voice, body, and mind- are ready to work. (Part of my training at San Jose State University, which we all had drilled into our brains, was that an actor's job is to "create a believable character in a given situation using their voice, body, and mind)

But this morning, it was clear something different was called for- something new and fun and that would knock us all out of ourselves. Too often in this life, I think we all sort of sleep walk our way through the day, barely aware of all the wonders that surround us. Yes, I know, there are plenty of mundane things out there, so try and keep your eye rolling to a minimum. There is magic in this world, numinous experiences patiently waiting for us to get with it and live in the moment, even if it's just for a few seconds.

Just across the street from Reel Kids there is this park with a path encircling the grounds. It's about half a mile long. I decided to forgo the usual warm ups, and we all went for a walk on the path- and sang the first several songs from the show. It was great. We took a walk together. We sang in public, and I don't know if it was the novelty of the moment, the weariness of the cast, or their bravery- but nobody seemed the least bit self-conscious about performing songs from a musical based on the Ugly Duckling.

I don't know if this was brilliant or boring. But I felt alive. I think we all did. And that was groovy.

RECKLESS AND INSANE

We open MOON OVER BUFFALO at the Wolf Theatre Academy at the Denver JCC this Wednesday. It's going well. No, it's going fantastically. What is really amazing is watching these young lions of the theatre figure the show out- to see their eyes grow wide when a comic moment occurs to them, they try it, and it works. I swear, sometimes I think I can see them literally grow taller on stage.  I learn so much from my students. I think the world would be a better place if everyone, for just a month, had to teach young people. Anyhow, we are having a blast, the show is hilarious, and the piece has a gigantic heart. The glee is palpable. The show itself is a love letter to theatre, to being brave and scared and inspired and crazy. Happily, everyone involved in the show loves the theatre as much, if not more, than I do. Every rehearsal, we find something new. Every rehearsal, someone takes a risk, finds a greater truth, and adds to the show. I think the essence of the show is said best in a monologue the character George has in Act Two. It goes like this:

"Think, woman! Think for a minute! Use your brain! Think of all the fun we have together. Rambling from town to town like minor royalty. Signing autographs and doing interviews. My God, you'll be laughing about my entrance as Cyrano for months! And think of the joy you give to thousands of people every week. As Amanda and Roxane. Lady Bracknell and Eliza Doolittle. Youre and actress, Charlotte. It's in your veins. If you were caught in the spotlight of a runaway train, you'd break in to a time step. It's a gift to be so reckless and insane. There are people out there in the darkness who are living through you. Dreaming of what they can be through your voice."

So if you are around Denver this week, come to the show and share the love, the joy, the reckless insanity. For details, click HERE.

THE SPARROWS ARE FALLING All OVER THE PLACE

"I’ve been the Queen of Broken Hearts long enough!" - April

So Saturday, APRIL'S FOOL had it's first public reading ever, at the Fine Arts Center of Colorado Springs as part of the Rough Writers new play festival. It was fantastic. The cast- Nick Henderson, Jessica Parnello, Crystal Carter, Matthew Wessler, and Michelle Sharpe- were brilliant, the director - Crystal Carter- outstanding, and the overall experience very positive. They all kicked it in the ass. Seriously. These are some of the best Colorado has to offer. If you are anywhere near- and I mean like two hundred miles- the FAC in Colorado Springs and don't come to the reading this Friday, you might be what is technically known as a moron.


"We’re killing the pinball machine. Do you think it’ll fit out the window?" - Ahab


 I always feel like throwing up when I hear a new work of mine done for the first time. I don't get nerves when I act, or when I watch a show I directed. But when it's something I've written- all bets are off. But if it goes well, that feeling is quickly replaced with euphoria, triumph, and egotism.

"I am so stupid! Things are just starting to go my way, I finally get a break- and I go and kill my boyfriend!" - Moira

Now I take what I learned from hearing it out loud in front of people, make whatever re-writes I deem necessary, and we do it again this Friday at 7:30. What did I learn? First off, it seems like most people can relate to feeling unhinged in time, confused about their lives, and not quite sure what has happened to them. Go figure. On top of that, there are some tweaks to dialogue that should make it flow smoother- although, for whatever reason, dialogue seems to be one of my strongest suits as a writer. And the last scene needs something- a little more redemption or madness or I am not sure what, but there is a line or scene or event that hasn't happened yet that has to happen. I can feel it. A lot of times, when I write a play, there is some scene that comes late that ties everything together, sends it to the next level, connects the dots. In Muse of Fire, it's the scene where Dion and Mick drive to the ocean. In Last Call, it's a game of hide and seek that David and Jack play in a grave yard. Somewhere in the ether is that scene for April's Fool, waiting to say hello, to drop to the ground like a provident sparrow. I might find it today, or a month from now, but it's on it's way. Trust me.

"I gotta tell you- the coveralls, the whole hot bad girl at work thing? Daddy like." - Jaypes

I like this play. A lot. It's weird and funny and fantastical. It's got gods and dreams and murder by pinball. And a little bit of love, just for good measure.

Also on it's way, the next production of ROSE RED, at SOFA in Boulder. If you are a young performer and want to have one of the best June's of your life, be in this show.  It will kick you in the ass, and make you a super genius. Auditions are May 13 and May 20. Go here for more info:
http://www.offbroadwayfinearts.org/summer-stage-2013/

And this July, BURNING THE OLD MAN gets it's West Coast premiere at 2X4 BASH at the Western Stage in Salinas, CA. I did a lot of theatre there when I was starting out, including a three part, nine hour long version East of Eden that changed my life. It's a great theatre company, and to have one of my plays done there is very exciting to me. Come out and see it- if you do, I'll take you to the beach and buy you a soda.

"A foodie versed in Norse mythology, dressed as a clown, killed by a pinball machine, asking me out for drinks. Strange." - Norn

By the way- all the plays mentioned in this are available now, or soon will be, on INDIE THEATER NOW. So do us both a favor and buy a play for less than two bucks.

ON THE OUTSKIRTS OF DANGER

Had our first read through of ROSE RED on Saturday, and it was pretty friggin' fantastic to be sitting in a room once again, hearing a new script being read out loud by the people who are going to be performing it. Lots of things to do- scenes to tighten, plots twists to introduce and/or rework, songs to reprise, and of course, things that I don't even realize yet are out there, waiting to help transform this rough gem into a brilliant ruby (I would have said diamond, but it's cliche, and ruby is more appropriate for this show- come see it in December at Actor's Academy for the Performing Arts in Boulder to find out how).  I don't know if I can properly convey how exhilarating it is to hear a play you've written get a full read through. Exhilarating and terrifying and magic. The exhilarating part is when a line or scene comes across as you envisioned it when you wrote it. The terrifying part is when something you think is brilliant falls flat. The magic part is when an actor or actors find something in a scene you didn't realize was there- some depth or insight that might have been intentional but subconscious, or might just be happenstance, but for whatever reason is there and makes the play even better than you think.

I got all three on Saturday.



Anyhow- I said I would use this blog to describe how this show came about, so on we go.

We had settled on Rose Red and Snow White as our source material, and it was time to come up with a plot that could fill out a full length musical with a casts of at least 20, and up to 40 or more- if we should get lucky enough to have a theatre company want to produce it that likes large casts for their musicals. That would mean either Broadway, or children's theatre. In the original story, there are five characters: Rose Red, Snow White, their mother, a cranky dwarf, and a bear. So first order of business, come up with fifteen more characters at the very least.

Okay, the work begins.  First off, I change the dwarf to "The Imp". It sounds better to me, and is a reference to "Game of Thrones". I'm a bit of a geek, and like to put references to things in my plays. Allusions, if you will. I figure if people get them, great. If not, no harm. And it keeps me amused and into the work.  Next, I try to think of another villain- someone really powerful and strong and who can be played by a girl, because in young people's theatre, there are a lot more girls than boys. So I try to think up a witch/enchantress. I google famous witches, find some names, mix them together, and come up with the name "Endorra Belle". Sounds good to me. Now, why is she so nasty? I prefer stories where the bad guys have a reason for being the way they are. So, what if she used to be good, but went to the dark side after being wronged. Yeah, now it starts to gel in my head. Maybe the Imp used to be nice to, but did something foolish and/or cruel that turned Endorra Belle evil- and she punishes him by turning him into the Imp. Now that speaks to me, and the story starts to sort of fly out of my head at a pretty fast pace. I don't want to give it all away- sufficed to say the world of the play has a powerful villain in Endorra, and her agent the Imp.

Great, now I have six characters, only about twenty to go- plus a plot, theme, etc.

Next- sidekicks.

And don't forget, if you'd like to read one of my other plays, Like BURNING THE OLD MAN, or HELA AND TROY, or FENWAY: LAST OF THE BOHEMIANS, go to one of these wonderful websites:

http://www.playscripts.com/author.php3?authorid=1062

http://www.indietheaternow.com/Playwright/Playwright/KellyMcAllister

MAKING A MUSICAL, part 1

I think I'll use this blog to chronicle the birth of my new musical, ROSE RED. Seems that my writing about how I write might be of interest to some folks.

So, late last spring, Kari Kraakevik- who has been teaching with me at Actor's Academy for the Performing Arts up in Boulder for the past few years- told me that I should write a musical with her- a musical either for, or to be performed by, young people. Something that would appeal to the kind of audience who likes Wicked.

For those who know me only by my plays, this might sound a little strange. My plays, by and large, deal with lost, crazy, and/or angry people who drink to excess, get high, and swear with authority.  My first play, LAST CALL, had two guys run around naked for about ten minutes of the show, and I used the F word so much that we seriously considered putting the catch phrase "a f#$@ a minute" on the posters. I don't set out to write plays with so much "adult" material- but that seems to be what usually happens.

But I also happen to work really well with young people. No doubt we're emotional equals or something- but regardless the reason, I seem to be able to relate to the young pretty well. Since moving to Colorado, I've directed a lot of shows with young casts, and taught a ton of classes. I am sure I've worked with over a thousand young actors in the past five years.

So writing a musical for young people didn't seem so crazy after all. next, we needed to choose what to write about. I suggested maybe using my play MUSE OF FIRE, which takes place on a college campus- and had lots of swearing, drinking, and people mentioning that fact that human beings have sex. So that was out.

Then I suggested Rose Red and Snow White. It was one of my favorites when I was a kid, and the minute I mentioned it, I got a good feeling. Part of that, no doubt, was nostalgia for days gone by, like the happy feeling I get every time I hear theme song for The Mary Tyler Moore Show. But there was something more- just a feeling in my gut that said "yeah, this could be the way to go."

In my life, I seem to only get gut feelings that work out when it comes to writing. I don't know if this is the Universe's way of telling me to be a writer, or to keep me in the poor house, but that's just the way it is. And when the voices in my head talk, I listen.

So Kari and I met at a Starbucks up in Boulder in May, and I sort of hashed out a basic plot for the musical- expanding the story, adding lots of characters and plot twists along the way. Kari wrote everything down, and emailed me the results.

Now it was up to me to write the thing.

I'll start to tell you about that next time. In the interim, please check out these sites where you can buy for a very low price some of my earlier plays:

http://www.indietheaternow.com/Playwright/Playwright/KellyMcAllister

http://www.playscripts.com/author.php3?authorid=1062

 And then go to my short films Facebook page and give it a "like".

https://www.facebook.com/StrongTeaMovie


Up next, how I turned a bear into a wolf.