


And there's a story about them on broadwayworld.com here ...



I really wanted to push the idea of starting intimate and then opening up. A gesture of being shy, then trusting the audience with very personal stuff. With the mirror, we allow the boys to "hide" just a little before revealing themselves. The mirror also represents an honesty and willingness on the boys' part that they do accept themselves. A strong angled light would be focused on the mirror to reflect on the boys' faces, and another instrument would light their upstage faces and with a blue wash across the stage we see them but not fully until they move away from the mirror and the room opens up to realistic lighting motivated by table lamps and recessed lighting over the dinning table and bar.
We open the scene with the character action of turning on a lamp, from this motivated light the area around the sofa will softly glow and broaden to see the scene play out.
I wanted to use practicals as much as possible, and then once we established the "look" the stage would open up subtly to see all the action. In this rendering the motivated light is from the table lamp and a blue wash colors the rest of the set to create a late night feeling, but still see the characters. As the scene progresses the light will radiate from the source of the table lamp and fill the surrounding area but the corners will remain darker.
Here we have a moment where I wanted to take us out of reality and highlight the group in an isolated look. There is a front spot that will start on the boys in the middle and then grow larger to incorporate the two new "members" of the family. The audience should feel like this is all going to work out at this moment, and the characters should sparkle. There are dedicated back light and front side light to assist the spotlight.
Our first interview!
Thursday we couldn't really make fun of Shaifer. Shaifer looked good. Shaifer bought a brand new shirt at the Gap. We had to give it to Shaifer. We got a lot of rehearsing done that day.
But Friday, Shaifer outdid himself with a white and blue patterned polyester shirt with 5 buttons at the top that he wore for the first time in August of 1969 to Woodstock.
What will tomorrow bring? We wait with baited breath! The weather is supposed to be in the high sixties. Dare we hope for Culottes?
We like. Thank you.
Jane Pratt, magazine maven and editrix extraordinaire, saw the show a bunch of times - in early readings and at the festival this summer.
"MADE IN HEAVEN is that rare blend of irreverent, original and funny as hell and I implore you to go see it," Jane Pratt (founder, Jane Magazine, Sassy Magazine)
Here's what the SoHo Playhouse looks like when we've put our posters on it. Shaifer got very excited and clapped his hands when he saw it.
This one isn't doing too well anymore. This question of what to put in its place took an hour to debate in today's strategy meeting. Our publicists, promotions team, branding agency, and producers, on conference call from Costa Rica, all had useful input and got very excited. Only after we'd agreed to construct a large pair of [this comment has been censored] did we learn that the current flag's shape is 'grandfathered in' (SoHo Historic District and all that) and its shape can't be changed. We eventually decided that because it will only cost a few thousand dollars to get a new one - every cent well spent as far as ROI - we should go ahead, provided we hire a union rigger to put it up. We created a mock-up of the new flag pinned onto a styrofoam model of the building, and presented our work to the cast, but they didn't seem to care.
Here's a clipping from trusted news source, ABC Soaps, talking to audience member and cast favorite David Fumero.