IMFourPlay

A Spirited Closing: Performance Number Twenty-Five

And so it comes to an end with our final matinee performance. I was joined on the stage by Mark, Darren and Robyn, with Matt and Dana holding down the fort in the tech booth, Gina keeping watch from the house, and Jim and Keith keeping us moving from the pit. Today I did a little Math... With 25 public performances and two public previews, Jim and Keith have improvised 594 songs and parodies during the course of the run!! That deserves some kind of prize!

We had a lovely and generous audience in attendance, including several of my colleagues (Kevin, Lisa, Seth, Kelly and Dawn) and students from Rollins. In fact, our first character of the night, Jorge, was a former improv student. Mark took on this role as a cookie-store worker under the watchful eye of Mrs. Roberto. Jorge wanted to buy a ring for his love, Robyn's Rongobo (?!), but was thwarted by the stifling cameras watching his every movement, and his friend's constant need to have his raw cookie dough addiction fed. Darren then gave us Vince, a young man quickly making his live-in girlfriend, Heather, a football widow. Despite the warnings from his mother that he was following his father's ill path to destruction, and the overt romantic ovations of his friend Robert towards his woman, Vince continued to make bad choices and neglect his poor ignored love. The first act entered the realm of the supernatural with Robyn's Dawn who lived in an apartment above her parent's garage. When her friend, Cecilia, brought a hat to their seance on the eve of Dawn's wedding, a scorned spirit warned her that her betrothed, Jerry, was not all that he seemed. (In fact, we quickly learned that Cecilia and Jerry were developing a romance of their own). Finally, I was Chris, a mountain hiker with an emaciated girlfriend, Cheri, a nosy ex-lover, Geraldine, and a Native-American spirit and track guide, Rising Sun. Jim threw me a particularly interesting challenge for a solo, offering the theme song of Indian Jones!

Act two became a super-natural occurrence as we followed Robyn's Dawn into her pre-wedding panic. Jerry enlisted the cookie-dough addict to delay Dawn's arrival at the wedding while he continued to court his beloved Cecilia (no prizes for guessing what parody song appeared here!) Seeking advice, she went to her mother (also the mother of Vince) who advised her to "take off her shirt" and look inside herself. Summoning the feminine figure again, she was further encouraged to stand on her own to feet (to the tune of "Unchained Melody" - Jim was really throwing me some challenges today!) Jerry and Cecilia's betrayal was finally revealed in one of our more disturbing duet/dance sequences in which the lustful couple was seen in a series of awkward gymnastic positions. Mark gave a great show topping number as the emaciated Cheri, seeing love wherever she looked, and after one last push from her spirit guide, Dawn finally stood up to her husband-not-to-be, asserting her independence in a "I am woman, hear me roar" homage.

We received a generous standing ovation today, which was a nice way to go out, and while the show got a little dicy in its content at times, it made it to the station on time.

Thank you to the company for the lovely framed show poster, and to our generous and loyal audiences for their support during the run.

Any favourite show memories involving myself, Mark, Robyn or Darren as a comment?

This will probably be my penultimate entry... I'm planning on one final musing when the dust settles. (We go into tech for The Lost Comedies of William Shakespeare at the end of the week!!)

Your living-in-the-land-of-the-Bard Director, David C.

Denial Ain't Just a River in Egypt: Performance Number Twenty-Four

A great opening emotion and number tonight (thank you anonymous audience member!) It was the second of our three closings of sorts, and today we said sad farewells to Charles, Ron and Kate. One show to go...

We had four fun audience-inspired characters who were all in various states of denial. Charles began the show as Brett, a restaurant worker who preferred to spend his time fishing at the lake under the watchful gaze of his over-protective sun-screen wielding mother, One-Eyed Pete the poetic pirate, and his former girlfriend, Susan, a seductress who was bluntly honest. Brett spent his life with a woefully inaccurate image of his prowess as a ladies' man. Then came Ron as Nolan, a video-arcade addict, with a crazy friend Suzy and a condescending brother, Rick. When the owner of the arcade, flamboyant Harris, announced that he was closing the joint down, Nolan had to look deep inside as to who he was and what his future might hold. Next we met Kate as Sarah, a young woman initially denying the suffocation of her Grandma's dairy farm. Her brother, Bud, and the farm's cow mascot, Phil, brought into question whether her future with the cows could be a happy one. And lastly there was T.C., a young parent in major denial about the dangers the beach (and the world) posed when it came to his children, Penelope and Bart. While he pushed off his wife's complaints about his care-giving tactics, it quickly became apparent that her perception was considerably closer to the truth, despite his "Wind Beneath my Wings" parody claiming the contrary.

Act two continued our journey (and brought the Journey parody count to two! The first act had seen Charles sing "Don't lose your fat rolls" to the tune of "Don't stop believing.") Brett took center stage and we quickly learnt that while his former girlfriend, Susan, professed to want reconciliation, that her true motives in regards to the cheese-stick hogging man were more sinister. Enlisting the girl-desperate Nolan (Ron), she vowed to burn down his restaurant in a fun "Whatever Susie wants, Susie gets..." tango dance number with the boys in the band rocking it as always. In addition to great work in this tango number, Ron also gave us a fun Gilligan's island number as One-Eyed Pete, and Kate tackled the show-stopper singing a version of "Rainbow Connection" while standing on her head! All in all, I think we had more parodies tonight that we often have in a whole weekend. Charles was wonderfully playful throughout, and constructed a nice turn at the end when he learnt of Susan's ill deeds, casting her aside and stepping out to face life alone.

Gina copied down a slew of dialogue quotes (we were all channeling Chase Padgett tonight apparently), so I offer them here:

David as sunbathing Susan to Brett: "I took off my top. Weren't you listening?"
Later, Susan to Brett: "I could never be with a guy who doesn't notice the little things, even if they are 300 pounds."
Charles' Brett as Susan left stage: "I'll soak that up with a biscuit!"
Ron as Nolan to his brother, Rick: "Have you ever played Ms. Pacman?"
Rick's response: "Have you ever kissed a girl in real life?"
Grandma to Kate's Sarah: "You gotta treat your cow like your future husband..."
Bud, finishing and sanitizing Grandma's thought: "Feed him three times a day."
Grandma to Sarah: "You are the basket that I put my shriveled up eggs into."
Kate to One-Eyed Pete: "Somebody get this guy an ocean."
Ron as One-Eyed Pete: "They don't call me One-Eyed Pete for nothing... It's cause I got one eye."
Charles while Kate was milking the cow: "You've got to squeeze his thingies."
Ron after singing an entire song as One-Eyed Pete: "Wait a minute... my eye... I've had it open this whole time!"
Kate while singing a song on her head (to the tune of "Rainbow Connection"): "Why are there so many, songs in this show..."

This was a crazy fun show, and the audience was wonderfully playful (as was exhibited when I opened a window so that Ron's Nolan could hear the entire universe laughing at him!) Charles kept leaving stage during act two to get a drink of water when he needed to remain on, which became a game all in itself too!!

Any favourite Charles, Ron or Kate moments to share?

Your one-to-go Director, David C.

By the Book: Performance Number Twenty-Three

And the closing weekend begins... We start saying goodbye to our various company members, with tonight being the final show for Chase and Jay, pictured below. Joining Chase and Jay were Kate and I, and together we created one of the odder but more playful shows of late.

Chase got the musical ball rolling as Eddie, a pharmacist with big dreams of becoming the general manager of his CVS. Sadly, his boss, Mrs. Johnson, had an incompetent son, Robert, who despite his fascination and addiction to the various pills in the store, received the promotion instead, thereby throwing Eddie into disarray. Complicating things further was the elderly Mrs. Cunningham (no relation) who had apparently developed a little crush on our hero. How could Eddie get his life back on track? Jay then gave us the likeable Jeff, a good-natured fellow with a loving sister, Jinny, and nephew, Jimmy, who looked up to him. Sadly, his adventurous brother-in-law, Jim, was a wayward spirit, and when Jeff discovered that Jim potentially had another child, Jeff was put into a moral fix. Should he tell his sister and nephew or not? Kate's Ashley, a young woman with a disturbingly affectionate role-playing live-in cousin, Phil, provided our next episode. As her mother went through a messy divorce and mid-life crisis, Ashley's homelife became more and more uncomfortable. Her loving Dad, provided a possible out, but would he really get that job that would give him the money he needed to get a new place for them both? Lastly, I was Mike, a young man who spent a lot of time in the library cramming, much to the dismay of the highly territorial librarian, Heinrich. The apple of Mike's eye, Martha, motivated him to higher levels of learning, but when the cool French kid, Pierre, finally noticed him, Mike decided to leave behind his world of books for the real world of flesh and blood. Would Pierre, however, turn out to truly be a friend?

There were some fun story developments in our act one, and Chase had a particularly strong night in terms of fun characterizations. Mike ended up taking the vote, and the story followed his quest for love and life. Heinrich started to stalk his former book-borrowing customer, while Pierre wooed away the fickle and ever-spinning Martha. When Heinrich enlisted Ashley's construction-worker Dad (by kidnapping his daughter), things became particularly complicated. (So much, in fact, that the company had a tough time keeping the story straight!) Mike slowly realized that he needed the power of the books to help him out of his fix (despite an earlier "paper bite") and eventually the might of the written word (in the form of a rolled up blueprint) foiled the evil Heinrich, who was then stapled to the floor of the CVS as ultimate punishment. While a little convoluted, the act was playful, with Jay giving a fun show-stopping number about drug addiction with Robert in support, and Kate having some charming moments rushing from one character to another. I also enjoyed a musical duet with Chase's geeky role-playing character late in the act, and as is typically the case, Chase gave us a slew of quotable quotes throughout the evening, such as "I've got a girlfriend--albeit imaginary," and "These staples are hindering my escape to Argentina."

Despite a confusing story, and a few too many slower numbers in the second act, the show had a highly enjoyable energy and was received well. We found some fun games, such as spinning poor Kate's Martha around all the time, and made it through smiling! I also enjoyed introducing the band as Sticks Dickerson and Fingers Rhinehart.

And so sadly, it's goodbye to Chase and Jay. Any audience or company member memories of favourite moments with them on stage...?

Two shows to go. My mother-in-law will be in the house on Saturday. No pressure!!

Your the-end-is-nigh Director, David C.

You wouldn't necessarily think that a network administrator would fit in with our merry little band of behind-the-scenes FourPlayers, but Matt's human networking skills both in the tech booth and behind the scenes have sure come in handy! We were lucky to have him return for his second tour of duty as lighting technician and Slide Show operator. Matt agreed to talk to me briefly while working on lighting schemes, a downed email server, 2 remote networks and finishing off some all-you-can-eat Carolina BBQ...

Current favorite musical: Movie -- has to be Beauty and the Beast, followed closely by Hunchback of Notre Dame and Little Mermaid; Stage -- I have actually only seen 2 -- FourPlay: The Improvised Musical and Jester Theater's version of Musical of Musicals
Current favorite improv game: Narrative Collage and Crime Endowment

DC: I hate to admit it, Matt, but our recurring sound woes have, perhaps, overshadowed at least my focus on the lights (and we all know that lights need some focus every now and again!) You routinely manage to create some lovely effects with a rather limited system. Tell us a little about what inspires your light choices, or is it simply a need to practice for setting up Christmas lights on a house?

MC: Why, David, I am surprised by the question; I thought the light effects went unnoticed for the most part. I draw inspiration from the stories told on stage and the music that is provided. The first year of FourPlay taught me a lot about lighting musicals and I brought that knowledge with me to this year. Generally speaking, I have found that bright, shiny objects often distract the audiences from the fact that the same four people keep showing up on stage...

DC: I have also noticed that interesting (and at times, odd) sound effects creep into the show. Are those a result of your need to torture us with phantom doors and voices in the rafters?

MC: No, they are there to help add environment to the scene. There are times that I have found the players picking up a game of playing with the effects. The voices in the rafters must be trapped in your head; otherwise, I would have to admit that occasionally certain CD cues are left with the house volume up. Of course there are times when my evil twin appears in the booth and tries to "blow up" everyone on stage. Don't make my evil twin angry, David; you wouldn't like it if he got angry...

DC: That's fair warning! I completely agree that there's been many a night when the soundscape has really added a great ongoing game (and I promise never to mention the afternoon of explosions if you won't either!) Given that you seem to have a career in computers already, what keeps you coming to SAK?

MC: It is a winding path, but worth the time. When I first came to Orlando, I joined a service Fraternity at UCF (Alpha Phi Omega). Through them, I got involved with the Orlando Fringe Festival, where I worked as a volunteer and a Board member for 10 years. The year I moved up in the Fraternity to take a more advisory role, I had an opportunity to take the Basics class at SAK for free. They kept passing me up the chain; now I am in LabRats, where I was honored with LabRat of the Year in 2004. While working with Fringe, I had met John Valines. John finally convinced me to learn to tech at SAK and I have been doing it ever since. SAK is my mini-vacation each week from the rest of my life, and I love every second of it.

DC: And we love having you as part of the family. You mentioned Disney musicals as some of your favorites. What about them connects with you?

MC: Well, the simplicity of the songs. The way they tell the story effortlessly. The variety of styles helps as well. Music is very powerful and can touch each person in a different way. While I know that I am not a star singer by any stretch of the imagination, music that is lyrically sound and easy to follow gives me the ability to "sing in the shower" and pretend that I am that good. While I don't always identify the tune playing, my life is one big soundtrack and there are songs that are absolutely perfect for every moment in my life, significant or insignificant. The Disney musicals often underscore the true feelings I hide from most people.

DC: Wow, I never knew that music inspired you so; no wonder you enjoy being a part of this production. Don't worry--your secret is safe with me! Well Matt, thanks for giving me a little of your time... Now that you got my email working again, I can send out my announcements for the Lost Comedies of Shakespeare. By the way, is that my tie you just dipped in that BBQ sauce?!?!?

To learn more about Matt, go here.

Thanksgiving Comes Early: Performance Number Twenty-Two

Sunday Matinee number three, and we had a surprisingly nice house (thanks in part, I'm guessing, to Scottie's efforts from Rollins who arranged a cross-promotion effort.) These three-show weekends, though, I must admit are pretty hard on the body, mind and voice. I always get to this point of the weekend and just want to create characters who sleep a lot on stage!

This afternoon's cast was Chase, Ron, Kate and myself. Chase was Thomas Hemmingway (apparently related to THAT Hemmingway), and built missiles for a living. It's odd that I actually think that's the second time we've had an armament choice like that in this run. Terry, his project leader, suffered from a series of odd physical deformities (such as a second tail), while Jessica, a smuggling co-worker seemed to struggle with the concept that she had been fired. Life was no smoother at home, as his wife of three months, Martha, craved a more romantic and poetic husband in addition to the odd turkey leg. While Thomas pledged to re-prioritize in dulcet song, it was apparently too late as Martha had already decided to leave him. Next came Ron's Steve, a Latin-loving student under the tutelage of Mrs. Winslow, a rather dominating lady. Steve loved to escape into his mythic imagination, but he was always pulled back into reality until his friend Augustus offered potential glory at a Greek (?!) competition. Then there was Kate as Jess, a young woman who had the good fortune (or was it?) of living with two eighteen-year-old brothers. The boys, Tyler and Trent, knew little of hygiene or cleanliness, much to Jess' pain, and the arrival of Tyler's equally simple girlfriend, Nadine, didn't make things much better. Ron gave one of my favorite lines of the afternoon as this character. After I noted as Tyler that "I have the brains but Trent has the brawn," Nadine inexplicably added, "I nearly had a baby!" Rounding off the act was my Mike, a man with a backyard filled with an ever-increasing number of turkey vultures. Despite the best efforts of Mike's best friend, Jeremy, and his ever-loving mother, the menacing birds slowly took more and more control of his world. Ron's Anthony, who preferred to go by "Nightshade" provided an element of dark intrigue as the mysterious next-door-neighbor. The four of us created a fun circling song here, which was one of the musical highlights of the act.

The audience selected Mike as act two's star (I think it was all those turkey vultures that did it!) We had some interesting characters to play with, and Jim offered a fun Les Mis parody, complete with waving flag thanks to Ron, early in the act. Night Shade emerged as Mike's nemesis, seeking to punish him through a variety of increasingly bizarre means for his withheld friendship. As the vultures' threat increased, Mike turned to his missile-making friend for help. In exchange for building a missile, Mike wrote Thomas' wife a love poem in an effort to rejuvenate their failing marriage. I really enjoyed created this song with Chase. After a bout of voodoo and some faulty explosives, Mike's Mom's words ultimately won over the day, and Mike invited the turkey vultures and his next-door-neighbor into his home in an act of love.

Our act two became a little convoluted in terms of plot, and it was an act of faith to find an ending when all was said and done! We also had some old sound issues tonight, with Chase having to finish up the show on a hand-held corded microphone (although he handled it like a pro). We also had an uncharacteristic barrage of explosions from the booth, which complicated the story in less-than-helpful ways. When we were on today, there was some great ensemble work (Kate's episode in act one seemed particularly playful). When we were off, the story became a little unwieldy or unclear and the scenes/songs started to meander on stage too long. We've got to keep it simple. It's becoming a standard disclaimer (but a true one) that the audience seemed quite receptive and complimentary as they left, but the show was a bit glitchy overall with some technical, story and drive issues. I also personally felt a little off due to a complete lack of sleep last night. We did have some particularly fun characters today though, such as Chase's Jeremy, Ron's Nadine and Kate's Jess.

Next week we begin our series of "last shows" for the individual company members. Even when I'm this tired, that thought makes me a little sad. We've really come such a long way with this run...

Three to go.

Your sleep-seeking Director, David C.

The Math of Love: Performance Number Twenty-One

And the weekend just keeps getting better... A GREAT house tonight, both in terms of size and response. I had a lot of Rollins students in attendance as well (Actually, a lot more than I realized until the meet-and-greet in the lobby. Annie Get Your Gun opens this coming weekend at Rollins, so this was the last opportunity for many to check the show out.) I'm really grateful for all the support my students have been giving - it always makes to smile to see them in the house (and there's nothing like wearing pony tails in front of your students to really complicate and equalize the student-teacher relationship!!)

The opening number rocked! We've had a spate of negative emotions as our initial song offer, but tonight a lovely young lady in the front row gave us "hyperactivity" and this got the show off to a rocking start. Charles and the boys in the band were in sync from the start, and the number built wonderfully, culminating in me breaking the chair that I was using as my mimed mechanic horse. Charles got us going as Evan, a 40-year-old man who drove an airport shuttle. His three usual customers were Captain Smith, an alcohol-soused pilot, Mrs. McGillicuddy (we seem to like that name), a devout church-goer, and Polly, an eighteen-year-old "near woman" who not-so-secretly yearned for this older man. Charles rocked the house (as always) when he sang about pursuing love with the younger Polly, despite the age difference. Jay became Joseph (one of my students, in fact, and my current peer mentor), and explored a rather odd relationship with his teacher, Mr. J., his eighth-grade teacher who was ruthlessly exploiting him to build his own house. (There was a fun "Our House" parody here between the two.) Robyn's lisping nerdy Broomie and Charles' show-choir-loving Wolly wrapped up the episode in fine form. Then came Robyn as Beth, a woman with a steep hill to climb and a steeper battle with her family for independence as her husband, a top-hat wearing butcher, and daughter, an asthmatic jogger, put various demands upon her time and energy. Jay's Clara, a triathlete nextdoor neighbor, provided additional comic relief. Lastly, I was Mike, a cowboy bar frequenting young man whose world was thrown into chaos upon the death (or was it murder?) of his favorite mechanical horse. Aided by Pedro, the slightly-stereotypical-Siesta-taking owner of the bar, and "Musician Sue," a low-talking female guitarist, Mike suspected his rival, Big Bart, as the culprit. After singing an "Ode to Joy" (the name of the metal horse), he plotted revenge upon his nemesis, regardless of the personal cost.

The intermission vote was a nail biter by all accounts, and the house management had to actually go to an ensemble member in the audience (who don't usually vote) in order to cast the deciding vote as it was originally tied between Charles' Evan and Jay's Joseph. Charles took it by a nose. We didn't actually learn of this until after the show, but as it turned out, we actually used a lot of the characters from Jay's story line in major roles, so hopefully the audience got the best of both worlds. We also had a really strong second act, so I don't think any of us can really regret the final decision. It just goes to show you though, that unlike some states in the union, your vote really does count at SAK!!!

So, we explored our second May/December relationship of the weekend as we followed Evan on his quest for albeit young love. We had discussed backstage that we were a little wary if this was the chosen story of it becoming unseemly. Jay, with typical acuity, noted that we should just make the love story simple and honest, and that proved to be a great starting point. While I definitely kept Polly's youthful exuberance, Charles did a great job of really falling for this young girl, and as the act progressed, we learnt that he was, in fact, equally as inexperienced when it came to dating and matters of the heart (a great choice on his part.) Robyn's Mrs. McGillicuddy, the founder of the "moral neighborhood watch", and Mr. J., an equally judgmental advocator of abstinence, frowned upon what they viewed as an example of sordid love, and set out to destroy Evan and his newfound love. First they blacklisted his van company, then they let the air out of his tires, and finally, Mr. J. kidnapped Polly in the basement of his incomplete house. Charles led the way with one strong musical number after another (and a really playful duet with Jay's Joseph), and Robyn stepped up to the plate and gave one our most memorable show-stopping numbers of late as the lisping and spelling Broomie. (She's admitted that she's been avoiding tackling this number, and it was a great thing to see her not only take it on, but succeed so thoroughly with it - a great culmination to what was a really strong night for Robyn overall.)

The act ended with a fun series of exchanges as Charles' Evan took on the evil pedagogue, Mr. J. Gina managed to scribble down a bunch of the whimsical quips, such as Mr. J's "Oh, your hands can't harm me... I'm a teacher," then, "What does 18 plus 22 equal?" to which Evan responded, "40," to which Mr. J. responded "Wrong. Dirty." Charles pulled out a great trump, finally, with "You're a teacher, but I'm a Republican!" and Mr. J. quickly melted into a puddle of water under the threatened budget cuts. Finally, Evan and Polly were reunited, their love proving to be pure in spite of what the moral arbiters might have thought, and as they professed their love to one another, Jay's Joseph and Robyn's Mrs. McGillicuddy planned to meet up later when Joseph also turned eighteen! Another really fun ending to a show.

Everyone was really on tonight, from the actors, to the musicians, to the technicians, to the audience! Jim, for example, gave me a particularly playful early-Disneyesque song in the second act in which my Polly sang her love to a variety of woodland creatures. Every time I mimed sending a bird away, Jim would provide a sound effect from the keyboard that would bring it back, keeping me on my toes in the process! While the jury is out as to whether I'll miss the extraordinary amount of energy and focus that this show requires each evening once we close, I know that I'll definitely miss the pure joy I get from singing in collaboration with Jim and Keith. When it hits, it's indescribable. (I had another musical savvy audience member ask tonight in earnest if the musicians were playing from a set list of songs. Most find it incomprehensible that Jim and Keith routinely improvise 20 completely original songs each night!) Charles really led a great and playful second act with some inspired songs and twists; Jay provided his usual story finesse, found some great connections and was in particularly good voice; and Robyn was extra vivacious, supplying some of her greatest characters to date--Broomie's spelling number will haunt me in my sleep! (I also liked her response to kidnapper Mr. J.'s question, "By the way, what do eighteen-year-olds eat...," "Nothing!")

I wonder if the company is slowly realizing that the end is nigh and that nobody wants to leave anything on the field... We're really taking the form and show to new levels. (No pressure Sunday cast!)

Four and counting...

Your mimed-bird-catching Director, David C.

Birthing Cletis: Performance Number Twenty

Some really fun work tonight! The cast was Mark, Darren, Kate and myself. The mood was angry. The results were predictably unpredictable. It was a little long in duration, but equally long in laughs and energy. A great start to the weekend.

Act one introduced us to Mark as David (this is going to get confusing!), a 50-year-old illiterate bellhop who had led Marcel, his 20-year-old girlfriend, to believe that he was the owner of the hotel where he worked. His earnest brother, Golf (?!), gave a helping hand with the bags, while Mrs. Higgenbottom offered a helping hand of a different sort. Mark gave a typically random and delightful solo that centered on a robin's egg as a metaphor (as well as a tendency to eat embryoes!) Then we met Darren as Carlos, a lonely guy with a Woodstock-type mother, overlooked friend, Scott, and a "fabulous" acquaintance and philanthropist Edith, who made a point of reminding Carlos just how mediocre his life was. Kate portrayed Corey, a young woman who delighted in living in a co-ed dorm. There, she encountered the towel-wearing and lustful Justin, her oddly-suited roommate Hank, and a former cheer-leading highschool friend, Ruth. Kate rocked the house with a great bluesy solo with the boys as backup. Finally, I was Josh, a young man who had a soft spot for sunsets on the beach, but whose favorite spot had been polluted by Mrs. Peterson's lost uranium, and the antics of his current "scarecrowish" girlfriend Mary Sue and slightly "off" exgirlfriend Agatha. Jim joined me on the keyboards for a parody of "Sunrise Sunset" as I mourned the fate of my favorite beach. I think that might actually be the second time we've used that song, but this time felt particularly strong.

Mark's David took the vote and we followed the travails of his character as he searched for knowledge and love. His younger girlfriend, Marcel, hid her pregnancy from her lover, and when she discovered him with a series of other women (Mrs. Higgenbottom, then Corey...), she plotted revenge with her sister, Mary Sue. Mark gave a strong opening solo, and Darren and I had great fun with a villainous patter duet where he noted down Marcel's fast-paced letter of last resort to David. (Little did she know that he was unable to read it and therefore unable to win her back!) I enjoyed, after a particularly fast verse, asking somewhat deviously for Darren's character to read/sing it back! Darren, in fact, had quite a busy and strong act, and did a great job providing a break-neck series of characters one after another as the story progressed.

I confused Mark a little with a slightly odd offer as the act neared its end, launching him into a duet with Kate about beaches. They both did a great job, regardless of my unintentional plot detour, and this became one of my favorite musical numbers of the night. One of my personal high (low?) lights of the run was my show stopping number tonight, where my towel-wearing Justin sang about the endless possibilities for love if you keep an open mind. Keith and Jim were particularly vampy in the pit, and the number climaxed with Darren catching my thrown costume towel. Finally, Mark's David and my Marcel squared off in the final duet, leveling charges at each other, until his illiteracy and her pregnancy were finally revealed (I believe Mark actually noticed an extra pair of feet emerging under my skirt if I'm not mistaken.) We had one of our most fun ending songs of the run, with the birth of their child, complete with cord cutting and baby naming (Cletis), and David declaring that he would not eat this particular fetus... You had to be there!!

The content was a little playfully dicey in places, but this was a really explosive show, with a particularly strong top and bottom of the second act. Mark really stepped up his game as the star and made some great helpful choices that set us all up for a successful act. In addition to his usual comedic finesse in his solos, he also did particularly well tonight in providing lyrics that helped to clearly propel his sympathetic star. Kate did some really fun character work throughout--I particularly liked her uranium-hiding Mrs. Peterson that was quite an original offering. Darren was also on fire in terms of his wildly quick costume changes and great plot progressions. There was so much playfulness tonight. So while we ran a little long, the audience really seemed to leave on a high, as did the company. Some good work all around, and we managed to avoid some old traps and habits. I was a happy camper.

Some fun quotes from Gina, our omnipresent AD:

David: "I'm gonna stick to him like white sticks to artificial tan"
Mark: "Mediocrity is like a toothpick 'cause only nasty people have it."
Darren (singing while wearing a towel): "Some guys like to hang out, some guys don't."
David: "If you mean by 'cook up,' kill him, I agree."
Mark: "You've got little feet sticking out of your skirt."

And the countdown ticked to five...

Your is-this-really-coming-to-an-end Director, David C?

Into the Woods: Performance Number Nineteen

Our second matinee, and the house is building slowly (much aided by 20+ students from Rollins, including my RCC class--I may have loaded the deck a little in terms of the vote today!) The set up was a little smoother today as well. It was nice to be able to breath backstage before the show, and not to already be sweaty from an 8:00 Duel of Fools. This would be my ideal way of running the show... alas.

Charles, Jay, Robyn and I stepped up to the plate for the never-decreasing challenge that is FourPlay. Charles was Jason (one of my Rollins students) who worked reluctantly at Applebee's with Fernando, an asian chef with anger issues, and "Hostess Clowny," a peppy young woman who liked to make balloon animals. Mrs. Ruth--recently divorced--a regular customer who was clearly interested in more than Jason's pot stickers, rounded out the family. In a fun twist, Charles used his solo to declare that he was going to date both "Hostess Clowny" and Mrs. Ruth at the same time as that was simply what he wanted to do! Then there was Rodney (Jay pictured left), an angst-ridden young man who was attempting to plan a birthday party for his mother, Irene, with the help of a party planner, Ty-Lin. When Rodney's Dad returned from sea, he was faced with the difficult decision of picking one parent to please. Next came Robyn's Dottie, who was inexplicably living in a kennel with a bunch of dogs and cats, and assisted by Sherry, a woman who apparently spoke "cat," and Slow Jerry, a disadvantaged youth who used sign language. Her ex, Pete, clearly had remorse about their breakup, and Dottie had to face whether or not she wanted to continue her life behind bars. Finally, I was Daniel, a young man with a great backyard that was full of trees and perhaps something a little more sinister... Jeremiah, a less-than-loyal latin friend, and Samantha, a choir-robe-wearing-tomboy, provided his less-than-supportive peer group, while Jay was Big Bart, the confrontational Ren-Faire owner who lived across the property line. Jeremiah suggested that the sounds beyond the trees were coming from a Chupacabra (sp?), and set Daniel on a course for discovery.

As noted above, I had a bunch of students in the house this afternoon, so Daniel took the vote (although, I feel that we all had made particularly strong story choices for this character as well.) Daniel was forced to go "Into the Woods" (opening shortly at OSF!) to discover the source of the very Star Wars-esque sounds that were terrifying him and keeping him up at night. While Big Bart, at first, had seemed to thwart his efforts, the Ren-Faire owner soon helped Daniel safely traverse the dangerous terrain. After gaining strength from stuffing his pockets with his Star Wars collectibles, Daniel returned to the woods one final time to discover that the noises were coming from Jeremiah's amorous actions with Daniel's current love interest (thereby breaking their brother bondship pact for the critical fourth time). Fortunately, an electric fence strategically placed by Big Bart, shocked Jeremiah back to his senses, and the two friends reunited, joining their forces together as one.

There were a lot of fun moments in the show. Jay led a great physical escape sequence through the woods with Charles and I in tow (with great Mission Impossible accompaniment from the booth.) Charles had an hysterical all-but a capella solo as his Latin Jeremiah in the second act in a wonderfully playful dynamic with Jim (barely) on the keyboards. After a slightly rocky lead on my part, Robyn and I found a fun musical duet near the end of the second act, and Jay gave us one of our more memorable show-stoppers as of late as Slow Jerry. Jim, Keith and I also crafted an original Star Wars parody as a solo, which had some strong moments, and the booth gave us some great wild forest sound effects throughout. Act two kept on pace, and while the very end is always an unavoidable act of faith, we made it through with a good amount of grace.

There were a couple of slips. We had a character endowed as "slow" which is not a choice we generally want to follow as it tends to make it difficult to even gently play against stereotypes. I let a mild curse slip in a moment of rapid wit, although it seems to have slid under the radar. We also were a little sloppy with our environments overall in act one which gave us less fruitful options for the second act. That being said, however, this felt like a really successful run and had a good general balance of playfulness, energy and story (and Jay nailed his act one duet!) So no real complaints here!

Six shows to go... Then it's off to the land of Shakespeare!

Your nearing-the-finish-line Director, David C.

Healing the Family Pain: Performance Number Eighteen

What a fun evening!! It can be difficult getting the proverbial curtain up at 10:00pm with the quick change over from Duel of Fools and an often steady stream of latecomers, but tonight the show got underway at 10:02 (and we actually finished up notes around 12:15 which must be some kind of a record too!) Kudos to the booth (Dana and Charley) and house manager Patrick's efforts for getting us underway in such style.

Act one was a hoot with a capital "H" and it feels like the show is back into high gear after a few slower performances. Chase, Ron and Kate were in rare form, and we had an act of really playful characters and promising storylines. (And perhaps, even more importantly, some great listening and team work.) Chase started strongly as George, a security guard in an emergency room peopled by Dr. Anderson, an almost saint-like physician, and the drug-addled and disease-ridden Margaret. George's young son, Brody, with his uncontrollable violent tendencies and fascination with weapons and poisons, provided ample conflict for the desperate father, and Chase used this conflict to great effect in his opening number. Ron played Tristan, a young home-bound construction worker with a psychotic and argumentative mother, Judith, a young female friend and supplier of smuggled Skittles, Trisha, and a mysterious best-friend, Bill, who inexplicably lived in the young man's closet. All but a prisoner to his mother's controlling ways and complex alarm system, Tristan craved to escape his home. Kate took on the role of Stacy, an "exchange" student who found herself assigned to an Alabama house with an oddball couple, Gertrude and Billy Bob. (Chase gave a particularly strong choice when he punched Stacy upon arrival noting that Alabama had two rules: you gotta learn to take a punch; and you can't have all your teeth!) Spicing things up further, Stacy was followed to her Alabama home by Heinrich, an impassioned young German boy that she had housed with years earlier. Last but not least, I was Rich, a young man for whom fly fishing was his "second favorite thing to do." His co-workers, helpful Bobby, lisping Sarah and born-lucky Trevor, joined Rich for a fishing expedition where it quickly became apparent that he wasn't going to catch anything of value (although we later learnt that he was really fishing for a different kind of life altogether!)

I would have been happy to follow any of these stories into the second act (which is not something we can say every night.) Chase's George took the vote, and his son's self-destructive ways continued to weaken family stability as Dr. Anderson's threats to take the boy away if he was admitted to the E.R. again loomed ominously as a real potential. The more George attempted to make his house safe for his son, the more devious acts Brody found to put himself in mortal danger. Just when Dr. Anderson feared Brody's actions had gone too far, father and son were reunited as Brody's safety helmet was revealed to have evil intents of its own. Kate provided some great physical moments as her Stacy slowly suffered in the background from an unattended wound, and Ron gave a brilliant final twist as the final song of the act culminated.

Listening was right on track tonight, and there were lots of great little details that were reincorporated playfully throughout the evening. (I particularly liked Kate's "Warning shot" reference as Stacy, and Chase bringing back a slapping game between us and the "odd and really specific" sign postings at the end of the show.) We had some great environment and physical work (Kate was particularly on fire in this regard), and there were lots of neat discovered games (such as Ron's escalating Tom Cruise references as he tried to escape his house--his repelling pose in an act one duet was a really great physical choice!) I was nervous that we weren't going to be able to find a satisfying ending, and although the "helmet of evil" was a bit of a stretch, as my right hand Gina noted, the whole company so over-accepted the choice that it almost seemed logical by the show's end!

In short, we had some good storytelling tonight. It's easy to forget in a show that has so many musical numbers (over 20) that the story really is the most important component. Chase did a nice job finding the human core and desire of our hero, and even though things became absurd at times (my rather dark solo as the son singing about how pain made me feel alive comes to mind), the company worked together smoothly to weave the various stories together.

When it's this much fun, it seems as if seven shows isn't enough to put the show to bed...

Your now-finally-writing-on-DSL-not-dial-up-and-loving-it Director, David C.

Ladies Night Out: Performance Number Seventeen

Tonight was a treat in that our two women, Robyn and Kate, got to play together alongside the two men, Mark and I, who most like to play women's parts on stage! (Internally, I've been calling this the "all woman" show!) I'd originally intended to have two men and two women serve as the casting norm each evening, but I was unable to cast a company to make this possible.

We had a strong act one. Mark was the all-American Dr. Blake (no first name given), who worked in an airport parking lot, alongside Alfredo, an ardent admirer, and O'Hara, a Scottish stereotype (!). Kate provided a mature love interest, Mrs. Havelin, the richest woman in Oakland. Mark gave a great solo about what it was to be American to his Italian immigrant friend. Robyn played Rae, a young woman who desperately wanted to please her Pop Pop (Grandpa) and his nurse/lover, Madge, by pretending to be engaged to Brandon, a self-centered and unfaithful pilot. I enjoyed singing one of my softer numbers of late to Rae about how she'd know when she had found love. Kate then portrayed Sarah, a woman with a passion for cats, a LOT of cats, that caused issues for her upstairs landlady, Mrs. Oakley, and best friend since third grade, Fezzy. Her favorite cat, Mr. Fluffy, we soon learnt had been catnapped by a mysterious high-pitched laughing figure. Finally, I was David, a young man who liked to visit his sister, Shirley, at Melbourne beach, where he pursued love. On this particular day, a young woman with an unpronounceable name was swept ashore and into his life. Mark and I got to sing and dance a Disney-inspired love song thanks to the ever apt Jim Rhinehart on the keyboards.

Mark led us into the second act as Dr. Blake's life slowly unraveled as his former underling, Alfredo, tried to slowly usurp him by becoming more and more like him. Mark and Kate gave a great duet late in the act, and Robyn hit home a fun solo as her O'Hara character. We did some good work simplifying the story tonight, but struggled a little to find meaningful plot complications. Again, the audience left smiling and supportive, but the company felt a little dissatisfied in how we handled the challenge of the second act. Generally, we don't always isolate and build the star's central desire or journey and/or offer strong obstacles from the antagonistic or supporting positions. We also missed some possible cues and offers, and need to continue to make every major choice important through strong reactions, tilts and reincorporations.

There are only eight performances left... It seems so many and so few all at the same time!!!

Your energy-tweaking Director, David C.

Playing on the Fringe: Performance Number Sixteen

Our first Sunday matinee! (If I'm not mistaken, it was SAK's first Sunday matinee ever... Does anyone know differently?) A small but respectable house gathered for this experiment in long-form improv. I think we were all a little tired (Robyn and I were both in last night's two shows), but we pulled together...

Act one, by all accounts was pretty solid and fun. Charles and Ron joined Robyn and I on the stage and we got to work generating our four possible storylines. Charles was in great voice, and did a great job as Ryan, a Fringe Festival assistant, who decided to produce and direct his own offering: a one-man naked Shakespeare show featuring the ill-equipped Simon. Robyn played a rather intoxicated and power-hungry critic, while Ron provided one of our darker characters of the afternoon as an unnamed audience member in a trench coat. Ron then dropped the coat to give us Alex, a struggling college student who made his current girlfriend, Charlene, slightly sick every time she saw him, but was apparently food for the eyes of the somewhat Spanish-speaking Josephina. Alex's mentor (and Spanish/Physics teacher?!) Dr. Bill Jones, weighed in with some rock 'n' roll advice to try to motivate Alex to action. Robyn's audience-inspired character was Karen, a woman with her own trailer, slightly challenged adult daughter, Fanzy, and next-door crush and all-around nice guy, Jerry. However, Daddy Joe, a lottery-winning power monger, threatened her happiness with his plan to destroy the trailer park to build a bingo establishment. Lastly, I was Joel, a reclusive nineteen-year-old who shared his sparsely furnished apartment (a couch, television and newly-purchased "man candle") with his equally reclusive friend, Jeremy. They were visited by Suzie, a motherly figure (who lived next door), the complex's kind-hearted cop, and a possible apparition who was able to open and close the front door at whim! I had fun with a near "Candle in the Wind" parody as my man candle burnt down to a handful of wax while I sang: "My story ended long before the man candle ever did."

The fringe contingent pulled for Ryan, and so we followed him and his would-be producer desires into the second act. (This weekend was an "all player one" weekend in terms of the votes.) Robyn's critic, Mrs. Roeper, emerged as his nemesis, and sought to thwart his artistic ambitions, writing a scathing review of his solo Shakespeare show. Thrown into despair, Ryan sought help from his younger shut-in brother, and tried to motivate his actor, Simon, to improve the show's quality. Ultimately, Roeper's own desires to perform were revealed (as were the trenchcoated observer's from act one), and she emerged as Ryan's next potential Fringe star.

While the first act was quite strong, we all agreed that act two was a little more of a struggle. We wrestled with some of the structural issues that had plagued us last night, in addition to finding a driving energy, which aggravated the problem further. Just when the show traditionally peaks, the urgency started to droop a little, and we had to scramble to find a meaningful ending. Again, rather than simplify the plot, there were many tangential complications that didn't directly assist the star in his plight, and we struggled to propel the action into several key songs. We were also a little too referential in our material, I suspect. So while this played to our Fringe guests, it may not have reached the "universal" level in terms of theme or empathy.

It is not a secret in the company that the "star" position is quite a bit of work, in spite of the best efforts of the supporting players. There is a lot to remember in terms of structure, plot points and drive, and ultimately the star provides the physical means for the play's journey. During rehearsals, there was limited time for us to all rotate into this position (I think most of us only got to play it once before we put the show in front of an audience), and currently approximately half the company hasn't played the role since we opened. Subsequently, it is generally a little nerve-racking when you're plopped into this position. However, it struck me this weekend that it's important that we all review this crucial role regularly if we're to keep the overall momentum of the show pulsing forward. I sensed a general tentativeness with all the various act two roles today that I thought we had already addressed and problem solved. It just reminds me, yet again, that this show continues to demand a level of concentration and detail that is quite daunting as a performer.

Matinee improv is difficult! We all seemed a little fatigued. That's going to be the challenge overall.

Your sleeping-a-little-less-than-he'd-like Director, David C.

Bodies, Babies and Big Boys (Oh My): Performance Number Fifteen

It was a bit of a crazy night for FourPlay! The 8:00 Duel of Fools included a special guest on Saturday, Wayne Brady, and so things were predictably a bit hectic in the lab. (On a sidenote, Wayne was an extremely generous and patient fellow, staying for a seemingly endless string of photos after the show which are now probably adorning MySpace sites everywhere!) We got off to a late start, around 10:20, but the house was sizable and supportive, and while it was unlikely from the get-go that we'd be out of there before midnight, I would posit that we kept the vast majority engaged and laughing throughout the evening.

Mark was in rare rapid-fire form providing a plethora of plot possibilities in his first position this evening. His character, Terry, worked as a car hop at Bob's Big Boy, alongside Arnelle (a Southern beauty school wannabe), Gillian (her long-lost twin separated at birth), and Kosak (an unseemly boss with secret desires). In the first moments of the show, we learnt that Terry's dead brother was being stored in the restaurant's freezer. Darren was a young man, Victor, in love with Robyn's sweet-girl Sandra, but stalked by Fenesha, an unstable young woman with an overactive imagination. Victor's father advised him atop a construction site to seek design in his life. Then Patty came along, a young woman with star-crossed roommates who invaded her space at every turn. Her only solace was Dern, the kind-hearted next-door-neighbor in her claustrophobic apartment complex. Lastly, I played Chad, a board-game obsessed man who found comfort in his basement of solitude. Plagued by his Renaissance Fair pickle-selling mother, and his pushy upstart brother, Chad's only comfort was his Lord of the Rings Risk game and imaginary friend, Sarah (who inexplicably spoke in a cockney dialect!)

Mark's Terry took the vote for the second act, and we set off into her rather convoluted mind. Along the way we experienced a fun "devil inside" duet, heard a rather whimsical song discussing various bridges in various locations, and learnt from Robyn's Gillian twin that the babies were separated at birth when one floated downstream while the other floated up! There was a lot of energy and playfulness in the act, and luckily the company's charm under stress (in particular that of Mark's Terry) made up for some rather inexplicable plot points that were left still hanging by the end of the night. Terry finally made the first step to well-being and recovery when she admitted to her boss and potential lover, Kosak, that she was completely unstable, and the performance found a relatively satisfying close as the once-fired Terry returned to work thanks to her generous friend, Arnelle.

There were many structural and dynamic mis-steps tonight, but luckily the drive of the show kept us moving. The major lesson of the night (to channel company member Jay Hopkins) is that simple is better. There was a barrage of possible plot points in both act one and act two (missing mother, dead brother, separated twins who know each other, a possible child by another...) - apart from rhyming in this overview, we struggled to find a meaningful way to put them together, and so the story felt a little less rewarding accordingly. It can be difficult to support and justify too many choices of this ilk, and subsequently, some were (perhaps necessarily) dropped from the story arc. I know that I'm personally reluctant to bring back random plot points unless I can be of assistance bringing them closer to resolution or meaning.

I'm hopeful we can bring the show back to center in terms of form and meaningful plot progression, but tonight's show had an odd but playful energy of its own that worked in its own oddball way.

Your jumbled-justifying Director, David C.

Children Are Animals Too: Performance Number Fourteen

Another wacky evening of FourPlay with some great characters and odd storylines! Chase, Jay and Kate joined me on the stage for a night of fun, furry animals and floundering fathers...

Chase started the show as Tom, a zoo-keeper with an odd co-worker, Bertha, an odder apprentice, G-Funk, and a sadly overlooked daughter desperate for attention, Shnookums. Jay gave us Berry, a man forcefully pushed through life by his devout pastor, and torn between his brother Jerry, and the girl of his affections, Agatha. We then met Mary, a divorcee with a hankering for the navy boys down by the dock. While her grandmother supposed watched the kids, and her undervalued friend Joe held the camera, she set up a rendezvous with a salty sea-man who simply went by the name, The Admiral. Finally, I was Justin, a mountain bike maniac, who wanted to meet with his crush, Megan, on the mountainous slopes. There were lots of fun moments in the act, including some great dynamics with Chase and his family of characters, a joyful confessional number between Jay and I, a rollicking good jam with Kate in the lead as she bemoaned her dating situation, and another tricky parody offer from Jim for my closing solo - "There ain't no mountain high enough."

Much to Chase's surprise (he didn't hide it well at all!) we followed his Tom into the second act as his much neglected (and diabetic) daughter was swept away into G-Funk and The Admiral's evil plans to populate their ship before sailing into the sunset. Amongst the more disturbing lyrics of the night (and there were plenty), Chase crooned: "I'll eat your lice and pick your parasites because I love you." Jay and I did a fun Gilligan's Island number, with great support from Jim and Keith in the band as always. I also had a lot of fun in perhaps one of my most pathetic parodies for a while, as Chase's unnamed daughter, Snookums. While caged in The Admiral's ship, and coming down from diabetic shock, I sang, "There is a father on a cloud" to the soaring tunes of Les Mis. However, perhaps the oddest exchanges of the night came from the ever-surprising Jay as G-Funk: G-Funk-"It's a family ferret." Snookums-"If you stroke the ferret, you're a member of the family." Hmmmmmm... As Kate's kidnapped Mary joined the final family picture, we actually closed on one of our sweeter endings, with the whole family coming back together.

We got a little ballad-heavy in the second act: we need to always pursue the up-tempo numbers - this is something Charles Gray does so well and effortlessly. I also learnt the hard way that wrestling an imaginary puma in a wild offstage exit can very nearly cause a very real injury. I was limping a little as Snookums upon my re-entrance, but (fingers crossed) it doesn't look like there's any permanent damage. Jay and Chase did nice work really crafting a meaningful reveal and ending, and we had another show without any onstage deaths (if you don't count The Admiral being swept overboard!) While I'm always looking to raise the stakes in general, it was a strong show, and I really enjoyed playing alongside my fellow cast mates tonight. And we ultimately learnt an important lesson: that children deserve all the love and attention that animals get!

Thanks, as always, to Gina for jotting down a smattering of quotes for me to include here.

Your slightly-limping-but-brightly-smiling Director, David C.

Another FourPlay Fan: The Sentinel Review is in!

Our show has been getting a little nice press as of late! I had an interview with Rebecca Swain published in the Sentinel's Calendar section last week, and today Elizabeth Maupin's review was published (on page 44 for those who want to see it in print!) Or you can just click here to see it online.

We're in the back stretch now, with our last month of shows (that sounds odd, considering that many shows only run for a month!!) Our first Sunday matinee is this weekend. I'm a little anxious about this scheduling experiment, but I'm hopeful we can get some of those non-night-owl types to come out and play with us!

What do you think about matinee improv...?

Your building-up-steam-for-a-three-show-weekend Director, David C.

If SAK could be described as a huge piece of industrial machinery, I would liken Rob's role to that of the oil. Without him, the various parts of the company wouldn't get along smoothly, and nobody would get paid (oil is as good as cash these days)! Rob and I decided to jog a few laps at the local fitness center while sipping on delicious apricot smoothies and nibbling on power bars...

Current favorite musical: Avenue Q
Current favorite improv game: ABC/Shakespeare/Should've Said

DC: Rob, you have one of those positions at SAK that seems to cover 101 different things! As a pivotal member of the SAK production team, how would you describe your average workday?

RW: Between, managing Front of House operations, juggling finances, scheduling and maintaining the SAK University program, and acting as the liaison between the SAK performers and the management team, my days are usually a bit on the scattered side. An average day around here usually involves doing a bit of workplace improv. I can come in with an agenda, and in the first two minutes of my day, realize that I have to drop that agenda and run with whatever new urgent issue has come up.

DC: In addition to your considerable behind-the-scenes work, SAK regulars can see you hosting weekend Ensemble shows or playing with the Lab Rats. I often feel that the importance and skill of SAK hosts is often overlooked or under appreciated. What do you see as you role when you are hosting, and what makes a good host in your opinion?

RW: I think a good host has to take on so much more responsibility than people even realize. As a host, you decide the general feel of the night. Are you going to play wacky, crazy games? Or are you going to focus more on story-telling narrative games? These decisions are so vital to a show. Also, as host, you are the first person the crowd sees onstage, and a good host really sets the mood for the night and gets that crowd excited and ready to play along with the improvisers. The right host intro is an essential part of the whole SAK experience.

DC: I couldn't agree more. In your spare ten seconds each day, you mentioned earlier that you also serve as the registrar for SAK University. Tell us a little about that part of SAK. What types of people typically enroll and what should prospective students know?

RW: The SAK University is actually one of my favorite extensions of SAK Entertainment. Basically, we invite our fans to learn the secrets behind what we do on stage every night. How cool is that? Through 4 levels of classes, SAK experts give you the tools you need to perform in a SAK improv show. It all culminates in a big Level 4 Graduation show, which is my favorite part of the program. As registrar, I usually deal with students from their first day in Level 1 all the way to the end, and it makes me so proud, excited, and impressed to watch their progression. The most amazing part of SAK University is the diversity of the students. Believe it or not, a lot of business professionals take the SAK classes. They often tell us how beneficial the improv and performing skills they learned in class have been when applied to their work presentations and the like. I love that, because it is so funny to to picture a group of business men in their suits performing a "sit, stand, kneel" scene in the boardroom!

DC: I find it quite amazing that in addition to your SAK duties, you are also involved with many other theatres and projects in town (including serving as a performer in SAK's own upcoming production of The Lost Comedies of William Shakespeare). I know, for example, that you had a very busy Fringe Festival this year.

RW: Uhhhh....thanks. Was this a question or a statement? Ha ha! I try to keep involved with as many theatre organizations in town as possible. It's a great benefit to SAK because I get to meet and swap ideas with some of the most creative minds in town. Orlando has such a wealth of talented people, brilliant minds, and innovative theatre groups. I feel so fortunate to live and work in the arts community of this town.

DC: Sorry to end this chat abruptly, but I think I can taste blood in my mouth - perhaps we should stop jogging and sit for a second...

To learn more about Rob, go here.