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No Shame September 2008

This month was a great month for No Shame, and I had a lot of fun. I was kind of nervous about this No Shame, but it turned out to be great.

Both I and (friend and fellow thespian) Rob (Taylor) had pieces cast with people from Doctor Faustus. Rob's piece went over really well, it was a continuation of the stories of the sexual active men and women created in the piece "Buried or Stuffed". It's like a farce driven Sex and the City, minus one girl and the posh atmosphere, and plus three men who have equal (or greater) force in the drama.

My piece was called Atlanta the Ballsy: Part One, and is the first part in a two part verse play, the second half of which I will present at next month's No Shame. The story is a modern retelling of the Greco-Roman myth of Atalanta, specifically focusing on the actual race story. Trinity Smith was my Atlanta, and she was (as usual) fantastic. I played a part in my own piece as Apollo, the god of truth. There are a lot of riffs on Christopher Marlowe in the play, partially due to the fact that I am currently in a Marlowe play (One more weekend, come see it!). The piece went over really well, and I hope I can pull it off again for Part Two.

The Redundant Theatre Company Theatre presented a dance selection from their new show "700 Stories About Love And One Really Big Reason To Quit", which is going up at NC Stage for the next two weekends. Their selection was funny and entertaining, and I can't wait to see the show. The leaving tenant, "The Songs of Robert", also presented a selection from their show, and it was (as the first time) hilarious.

There were a lot of really good pieces, and the evening was really polished. While this is really great, I also hope that this doesn't keep new people from contributing to No Shame. The whole point of No Shame is to develop talent and have fun! I'm not too worried about this, just reflecting. I've heard many whispers making No Shame more frequent, to which I can only say here-here!

(Photo by William Zane)

He who loves No Shame,

Nathan.

9 to 5

Dolly Parton has written a musical version of the 1980 film in which she starred. It is currently performing in its out-of-town tryout in Los Angeles. There are a lot of talented people involved with this production, and so I've been optimistic about it turning out well. To be honest, it wasn't really on my radar, until today. I visited BroadwayWorld.com and found a link to some footage on the forum. It looks amazing! The songs sound wonderful, and the one book scene showcased is a triumph! Check it out here!

Songs of Robert

Corpus Theatre Collective presents "The Songs of Robert", as a part of North Carolina Stage Company's Catalyst Series. The "verse play with live music" was written by and stars John Crutchfield as a whole host of characters, including the vulnerable titular character.

I thoroughly enjoyed myself at this show, and not only that, I found it to be of an excellent quality. Unfortunately, the two do not always find each other in the same theatre. But in this (dare I make bold praise) modern American masterwork of a play, John Crutchfield deftly combines both entertainment and comedy, and deep insights and beautiful poetry.

Crutchfield lithely leaps from character to character with the grace and style of ballet dancer. That doesn't mean you don't see him work though. One of the things I noticed during the opening scene was how big his "basketballs" had to be to do this. One man, his work, alone on a stage, telling a room full of southern people that they look nice, for white people.

I really appreciated the ability to see Crutchfield work at his change of characters. To just watch him as he turned his back to the audience, and to see his body build the energy necessary to leap into the next character, was an example of why so many love theatre.

The structure of this one-act play is not what one might call conventional. We are given glimpses into the world of Robert, a senior in high school, mostly through monologues and "scenes" with other characters in his life, but also through Robert himself. These scenes provide some of the most touching moments in the play. The structure of the play actually reminds me of the landmark musical, "Company" (whose protagonist is also named, coincidentally, Robert). Like the musical, we are given glimpses into the lead character's life, all culminating in one final song.

And don't think that this is a mere vanity project by an actor who isn't really a writer. The script is beautiful, and I would love to someday have a copy in my library. Crutchfield states in his notes, "Until I find someone to do it for me, I'll be performing it myself." And while I hope he continues to do so, as to watch his perform it is a gold medal treat, I also hope that the piece continues to have a life beyond him, and I will be the first in line to buy it if it is published.

Fly, don't run down to the North Carolina Stage Company to see this show. Realize how lucky we are to have so many talented local writers producing work, and support it. This show only has three performances left, so get thee to a ticket website!

http://www.ncstage.org/pages/on-stage/catalyst-series/songs-of-robert.php

http://www.johncrutchfield.com/

Yours gushing,
Nathan H. Adams

Stand-Up

Here's a video of some stand-up comedy I performed at No Shame Theatre at the North Carolina Stage Company back in November of 2007. I think it's the best set I've performed so far. Enjoy!



Big thanks to William for uploading!

Yours, yours, yours,
Nathan.

Doctor Faustus Review in the Citizen-Times!

Me splayed out on the ground as "Sloth" in Doctor Faustus, currently playing at the Hazel Robinson Aphitheatre. Photo by William Zane.

From the Citizen-Times

"‘Dr. Faustus’ is stunning stuff from Montford Park Players"

Jim Cavener

http://www.citizen-times.com/apps/pbcs.dll/article?AID=200880911079

"ASHEVILLE — Drawing near the close of its 36th and longest season of plays, now in the Hazel Robinson Amphitheatre behind the Montford Community Center, Montford Park Players is doing one of its occasional non-Shakespeare productions, “Doctor Faustus” by Christopher Marlowe.

It’s set in Wittenberg, Germany, and is the story of a worldly and successful scholar who sells his soul to the devil for 24 years of unlimited wealth and knowledge.

As is often the case with Elizabethan-era drama, the stilted but eloquent language creates obstacles for a full grasp of the significance of the story. Fortunately, the playbill includes a useful synopsis of scenes. It is wise to arrive early and spend some time sorting it out.

The term “cast of thousands” is overused, but in “Dr. Faustus,” there are more than half-a-hundred characters listed, and soldiers, tree demons, the Devil army, spirits and the seven deadly sins often arrive in multiples at a time. In addition, the delightful sins of sloth [I played sloth the night he saw the show!], lechery, pride and covetousness all are triply cast.

With so many players, it is impossible to mention most of the stellar roles. But in a very unusual bit of casting, the role of Mephistopheles is played by two quite differing local actors. One is the noted playwright, director and actor David Hopes. But on some nights, the role is portrayed by a 12-year-old girl, Amy Daugherty. Say what?

Saturday night of opening weekend Daugherty was Satan’s own agent, Mephistopheles, and the child is awesome. Hopes has some (actually very small) figuratively very large shoes to fill. A lucky viewer might see them both on successive nights. It is hard to imagine a more impressive performance than given by this sweet blond child in a white gown, ably holding forth in a role historically often cast with a tall, black-clothed man.

Faustus, himself is given by Warren Wilson College professor David Mycoff, while the Pope is Nathan Adams. Mike Vaniman is a good Emperor while Charles McKnight an impressive Wagner. The feisty Lucifer is interpreted by Nathaniel Deardoff, with Stephanie Hickling being the entire Chorus, a regular element in Elizabethan drama, part narrator, part troubadour.

Director Jason Williams has taken many risks with this production, but even the massive Cecil B. DeMille penultimate climax scene comes off with aplomb. Powerful metaphysical metaphors give this often playful romp both frivolity and sobriety. Good show."

Kennedy Center Honors

The Kennedy Center Honors were announced this week. This year the recipients are as follows (also, my brief thoughts on them);

• Morgan Freeman (Along Came A Spider, Lucius Fox)
• George Jones (White Lightning)
• Barbra Streisand (Funny Girl, a little uptight)
• Twyla Tharp (Movin‘ Out, also a little uptight)
• Pete Townsend (Tommy!)
• Roger Daltrey (more Tommy!)

Now, I think we all know what’s wrong this picture. Wait, we don’t? Alright, I’ll explain.

Jerry Herman has yet to receive a Kennedy Center Honor, which I believe is a huge oversight. His work as a musical playwright is a remarkable achievement that has shaped American culture and stands as an amazing catalogue of song. In addition to writing the score to “Hello Dolly!”, he also wrote the scores to “Mame” (We Need A Little Christmas), and “La Cage Aux Folles” (I Am What I Am). His lesser known work is also amazing, such as the scores to “Dear World”, “Milk & Honey”, “Mack & Mabel”, and “Parade” (an off-Broadway revue).

I will also point out that Andrew Lloyd Webber has received an Honor, and not only is he British (and already a knight), but didn’t start writing professionally until 14 years after Jerry Herman.

Now I know it’s not a huge deal, nothing to get too upset over. But I would like to see him receive an Honor before he dies. He is HIV positive. (Nick and I have a theory that it’s all the good karma of the happy show tunes that’s keeping him alive, you never know). But anyways, those are my thoughts for today.

Your sunflower,
Nathan.

Bard-A-Thon

This weekend I participated in North Carolina Stage Company's Bard-A-Thon. Like a walk-a-thon, except with reading Shakespeare. I would have stuck around to read all 12 plays, except that I was opening Doctor Faustus, so I was e'er so slightly committed. All in all it was a complete blast.

First I read The Winter's Tale, reading Camillo and Time, a chorus part. Camillo was really fun, and I felt like I was able to stretch my acting muscles with him, as he has to make some really difficult decisions in the first act (which he almost carries). I wouldn't have been has fun if I didn't have such a wonderful Leontes and Polixenes to play off of. Mike Coughlin and *I think his name is Max* were both excellent. Time was an interesting experience, being the only one onstage speaking this God-like speech, and was definitely a great warm up for Feste. At the end, during Leontes happy ending speech, he turned to Rae's character and basically said, "Now I know you want to marry Camillo." Rae and I both looked at each other like Scooby-Doo. "Huh?" But now Rae and I are happily married. On facebook.

Next, at 4 in the morning was Macbeth. I was the Second Witch, and I also took on various other roles. Being that it was 4 A.M., I was a bit loopy, and every witch line came with a different accent. Carol Channing! Jewish Mother! Julia Cunningham! Harvey Fierstein! I also had a fabulous wig. By the time the apparition scene rolled around, I was ready to settle down (on the floor) and really have fun with the part of the witch. I then went home and slept.

The next day, I tackled the role of Puck in A Midsummer Night's Dream. This role has always been the dream role for me, and am very grateful to my new friend Bobby who let me take the part. It was a dream (haha), a beautiful beautiful dream. Jason was a fantastic Oberon, and it was great to be onstage with someone so willing to play around. I got a lot of laughs, and it was nothing short of bliss . . .

. . . until an audience member had a seizure. She was eventually fine, Rae was great at making sure she was ok until the EMTs came. Unfortunately, this meant I couldn't perform Puck's last speeches, so some of the dream has yet to be fully conquered. However, I was able to quietly recite the final speech for my fellow readers backstage, for which I received some discreet applause.

I decided to stick around for Titus Andronicus long enough to read Mutius, the son that says four lines in the first scene before getting kill by Titus (His douche bag daddy, played by Rob Taylor). I also read the lines of a few other sons, but not all of there lines before leaving. Again, I went home to sleep.

The next day, I decided to go to Bard-A-Thon instead of promoting Doctor Faustus at LAAFF for the simple reason that Bard-A-Thon was more fun (but I'm now blogging about Faustus, so it all evens out). I read the role of Feste in Twelfth Night, and I am so glad that I did. I almost dropped it, because I wasn't very familiar with the play, and felt slightly uncomfortable reading so great a role with so little understanding. But I have to say it was totally worth it. Acting with James and Mike was a delight, and I loved making up 5-6 songs on the spot (Well, one melody was pre-planned. "What is love? 'tis not hereafter;" became "WHAT IS LOVE?! Tis not hereAfter!"). The play (and in turn, the Bard-A-Thon) itself ends in a song of Feste's. I got all the way through the song, surrounded by audience, Charlie, and actors, took a breath, and sang,

"But that's all one, our play is done,
And we'll strive to please you every day."

And this huge wave of applause and joy came washing over me from everywhere as all rejoiced in the completed task. It was a magical moment to end the magical moments.

It was magic. Theatrical magic. Best way to describe it. I can't wait until next year, and hopefully I won't be opening a show so I can do it all! Kudos to NC Stage for creating such a great event.

Your fool, fairy, witch, lord, clock, son, captain, and servant,
Nathan.

Doctor Faustus

This weekend I opened Doctor Faustus at the Hazel Robinson Amphitheatre with the Montford Park Players. The production is directed by Jason Williams, and stars David Mycoff, David Hopes, and Amy Daugherty.

It was a tiring tech week for Faustus, and to be honest, I was a little worried. Things were a bit behind in the set/costumes department, but just like the great thespians they are, Jill, Joe, Jason, Beth, etc all pulled it together for a great show. I wasn't sure how it all looked during opening night, the audience wasn't all that responsive, but at curtain call, I knew we had it. The audience was on its feet giving off a warmth that told me they had loved the show. The second night Jason said we had even more energy (despite the fact that so many of us had been up late after opening, or at least I was).

I am having a real blast playing ALL my parts (including the ones I play where I don't say anything, a testament to what a fun show this is). I play the Pope (pictures coming soon I hope), and I go out into the audience to collect money during intermission. It has been fascinating hearing the audience react to my presence in that costume (NEWS FLASH: People have very strong feelings regarding his holiness!). I can't wait to continue doing this show, and I hope we continue to do it justice. Jason has really created a magical evening of theatre, and I count myself as fortunate that I am able to be a part of it.

Here's a small piece of the magic, Mickey Hanley and Darren Marshall in deliciously evil costume backstage. I don't know who took the picture, but I think it's Mickey's camera (hope she doesn't mind!).

Doctor Faustus / Bard-A-Thon

This weekend, I opened Doctor Faustus with the Montford Park Players and participated in five plays at the fundraiser Bard-A-Thon at the North Carolina Stage Company. Yes, I am a complete lunatic. The roles I read there were thus

1. Camillo/Time - The Winter’s Tale
   
2. Second Witch/Captain/Servant - Macbeth
   
3. Puck - A Midsummer Night’s Dream
   
4. Mutius/Quintus/Martius - Titus Andronicus
   
5. Feste - Twelfth Night

And I play Sloth/The Pope/Soldier/Devil/Spirit in Doctor Faustus. I will give a full report of these events in a later blog post.

Yours exhausted,
Nathan.