"Dignity, always Dignity"

In the famous words of that immortal bard, Don Lockwood, as he was about to be led to the premier, "Dignity, always Dignity".

I got my first New York Shakespeare review for the role of the 'Dauphin' in the Drilling Companys production of Henry V.

Robert Weinstein, NYTheater.com

http://www.nytheatre.com/nytheatre/showpage.php?t=henr7004

The production is being received very well, and has really evolved into a great little piece.

I think that is the best word for the process, evolving. The projections we use on the wall behind us are fantastically cool - playing with a live camera feed at points to show a Live News TV feed, with the chorus serving as a news reporter, live at the scene of the action. Really cool!

Whats nice about the Parking Lot, in which we perform, I really feel that there are no judgements, no outlandish expectations (except those from the actors, and even then, they are only the usual, personal expectations or standards we all carry within us). Its an environment where you clearly see actors doing what they do best - playing and storytelling. I really feel that there is a atmosphere that hangs in the air that anything can, and usually does, happen. I mean, for instance, having a car parked in the middle of the stage you are performing on is not an ideal situation, but, handling ourselves onstage with no pretentiousness, moving with the circumstance, going with the flow so to speak, and knowing that sooner or later the person who owns that car is going to want to move it, and then when they do, we have to pause, clear, then carry on, I feel we earnt an everflowing sense of trust and respect from the audience. It is an organic beast! There is always room for play and creativity - it is encouraged, within the confines of the staging of course.

All this 'atmosphere' and 'creativity' talk stems from my most recent read, To The Actor by Michael (Mikhail) Chekov. After recently finishing Uta Hagens, Respect For Acting, I am amazed at how two major acting gurus can have such 'polarized' theories on acting, whilst sharing the same exact concept - how to deliver, inspire and create truth. Uta Hagen is very grounded and technical with the exercise styles, whilst Chekov (nephew of the playwrite, Anton) really dealves into the psychological and imaginative depths of the actor. Two completely different paths leading, ultimately, to the same location. I really connect with alot of Chekovs theories, particularly that of 'radiation' and 'psychological gesture', and am inspired by his almost 'mystical' view of the actor and his process. All in all, a good read. Both.

Julia is having a blast so far - which I am so glad about. The cast and creative team love her, and shes kicking butt (of course!). No pics yet, but will try and get some soon.

Family come at the end of the week, the its the big B-Day next week - 21! Looking forward to it! We're gonna hit 'Swing 46', a great restaurant/club with a live swing-band - Can't wait!

Peace