According to Jim Jewell, Megan Ahiers is the reason this weekend has run so smoothly. According to Megan Ahiers, Jim Jewell got locked out on the smoking porch both weekends of 14/48. The first weekend she only realized that she got the message long after it was sent. She saw they were locked out and thought “Oh shit, this is from 20 minutes ago.” While she was being interviewed, she was called to make sure the toilet paper in the bathroom […]
I’ve always loved Mazen Award Winner Kelleen Conway Blanchard’s work. This one, directed by Desiree Prewitt, shows her love of macabre metaphor and off-kilter characterization. Like much of her work, it takes a recognizable genre — the western film — retains its silliest tropes and empties it ofeverything else so that the absurdity of it all comes to the fore. Brilliant. But of course.
After the somber tone of the previous play, the stage is set for something quiet. That isn’t generally what I expect from a Scot Augustson play but then 14/48 brings out odd things. Especially in a play called Life. Kelly Kitchens is well-suited to this. She always tends to go for emotional truth, which is pretty much what this play needs to come off. I can hardly wait to see the whole thing.
Stephan Hajek’s piece is in good hands with Neil Reading. He makes things seem so effortless. This is the smoothest tech so far. That worries some people, but I’m pretty sure this will go swimmingly.
God doesn’t make an appearance very often at 14/48, preferring, I suppose, other forms of entertainment such as music at the Jericho Wall, but Joe Zavadil decided that The Divinity should have some fun overseeing extinctions. I haven’t seen Jodi-Paul Wooster as an actor for years. He makes a good deity. As one would expect.
Stan Shields always seems to get the two-handers. We’ve taken to calling them “Two-Standers.” This one from Seayoung Kim goes to outer space. The actors tell me it’s a metaphor and stuff. Actually that was me. I like stuff.
Nelle Tankus delivers another eccentric story about an unwanted pregnancy. Technically, except for the props, this one is fairly straightforward, a good contrast to the very un-straightforward narrative. And a good respite for the lighting designer.
Jessica Chisum’s play, Brimstone takes us to hell. Or not quite. Lots of sound, which means lots of cues. These are the ones I don’t envy the band or the stage manager, much less the sound and lights. But that’s why they get paid the big bucks.
I love tech. It’s probably my years of filmmaking, but something about the machinery appeals to me. Tech is fast, like the rest of 14/48. Decisions are quick. It’s a blast.