Bloggers Cramp?
I write today from the rear of the yearbook room at AHS. I'm "at lunch" at the moment so I thought that I'd take a moment to pause and write on my blog since I didn't have anything else important to do. I apologize for not posting last night, it has really bothered my conscience that I did not. I think I have a fear of getting out of habit and no longer posting on my blog, but I really want to continue this. I think it's a vital thing that I'm growing more attached to as the days wind on: writing and expressing my feelings through electronic wires. It's theraputic.
Yesterday I finally recieved via UPS two scripts which I had ordered last Monday. LAST MONDAY! They were supposed to be delivered on Thursday but they couldn't make the trek from Roanoke to Abingdon in time, so four more days were added. Ridiculous. But they did come, and now I've read on and have the other to enjoy hopefully tonight. The Baltimore Waltz by Paula Vogel because I'm considering it for performance by the AHS drama club (and I love the script), and Only You by Timothy Mason because it's the play my audition monologue is from. I read The Baltimore Waltz last night and loved it as much as I thought I would. I first learned of it when I purchased the "soundtrack" to Marry Zimmerman's Metamorphoses which is another great play. The CD consisted of a compilation of music composed by Willy Schwarz that was used in the production as well as other shows directed by Zimmerman. By-the-way, I adore Mary Zimmerman! She is one of my role models when it comes to directing. Her wonderful style of whimsy and delight is one that I hope I am able to capture and recreate as I progress in my art. Anyway, the CD had a few songs that she used in her production of The Baltimore Waltz and I first fell in love with the "feel" of the show, which is something I do often. And by reading the script, I was able to fall in love with it for numerous more reasons. Its wonderful use of language and weaving in and out of "being." Vogel, who wrote the script, is a master at this. She is wonderful when it comes to the metaphors and allusions on stage, making you always second guess what is real and what should be real. The fact that the story is based on the true life relationship of Vogel and her brother makes it all the more entriguing and understandable. Vogel's brother died of aids shortly after having asked his sister to accompany him to Europe, which she refused. She had no idea he was HIV positive, and later regretted this decision. The play was a result of an imaginary trip to Europe she had with Carl after his departing. Knowing this, I was able to appreciate and undertand the script all the more.
It's a wonderful script for many more reasons, but at the moment I cannot think very well due to the incisive noise behind me now. The students have returned from lunch and their loud mouths never cease to blabber and talk in loud, obnoxious tones. So I have to go now and save you from having to read bad writing.
Yesterday I finally recieved via UPS two scripts which I had ordered last Monday. LAST MONDAY! They were supposed to be delivered on Thursday but they couldn't make the trek from Roanoke to Abingdon in time, so four more days were added. Ridiculous. But they did come, and now I've read on and have the other to enjoy hopefully tonight. The Baltimore Waltz by Paula Vogel because I'm considering it for performance by the AHS drama club (and I love the script), and Only You by Timothy Mason because it's the play my audition monologue is from. I read The Baltimore Waltz last night and loved it as much as I thought I would. I first learned of it when I purchased the "soundtrack" to Marry Zimmerman's Metamorphoses which is another great play. The CD consisted of a compilation of music composed by Willy Schwarz that was used in the production as well as other shows directed by Zimmerman. By-the-way, I adore Mary Zimmerman! She is one of my role models when it comes to directing. Her wonderful style of whimsy and delight is one that I hope I am able to capture and recreate as I progress in my art. Anyway, the CD had a few songs that she used in her production of The Baltimore Waltz and I first fell in love with the "feel" of the show, which is something I do often. And by reading the script, I was able to fall in love with it for numerous more reasons. Its wonderful use of language and weaving in and out of "being." Vogel, who wrote the script, is a master at this. She is wonderful when it comes to the metaphors and allusions on stage, making you always second guess what is real and what should be real. The fact that the story is based on the true life relationship of Vogel and her brother makes it all the more entriguing and understandable. Vogel's brother died of aids shortly after having asked his sister to accompany him to Europe, which she refused. She had no idea he was HIV positive, and later regretted this decision. The play was a result of an imaginary trip to Europe she had with Carl after his departing. Knowing this, I was able to appreciate and undertand the script all the more.
It's a wonderful script for many more reasons, but at the moment I cannot think very well due to the incisive noise behind me now. The students have returned from lunch and their loud mouths never cease to blabber and talk in loud, obnoxious tones. So I have to go now and save you from having to read bad writing.
posted by ~chase at 11:36 AM
1 Comments:
Mary Z. is genius, pure and simple! you've got terrific taste!It's late at night, we are exhausted from packing our return-to-NYC truck and I wonder: will we ever get it all done. But , meanwhile: hello! Nice to read your blog! xxevalyn
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