In theater, a post-mortem doesn’t refer to the dead, but to the finished. The show’s over, you’ve got a little distance, and now it’s time to discuss what went well, what went wrong, and how you improve for the next time.
I have to say, having Tea Krulos helm the creative side was fantastic. A single creative director made a huge difference. Motionary Comics is much more about the magic of process (making) as opposed to product (a painting), but that doesn’t mean we didn’t want the best comic possible. The cohesion that a single individual made helped immensely.
The benefit for the United Way wasn’t as successful as the art event, though not for lack of trying. Christine and Joan did amazing work pulling it all together, but there simply wasn’t enough time to put it together. When I say “put it together,” I don’t even mean getting stuff to bid on. They did that. But organizing the benefit on the “production” end – we should have had announcements during the evening, ideally we would have put the tables in a room where they weren’t quite as bludgeoned by sound, we would have made a bigger deal about the competing storyline ends…
In other words, I discovered the shockingly obvious truth that benefits need to be as solidly and 100%-ly produced as the art event. It was not a wash – we raised a couple of hundred dollars. But we did it the hard way. Talk about a learning curve.
I drove up to Milwaukee last Thursday morning and put in about 7 hours. Friday ran from 9am to 1:30am Saturday morning. 5 hours of sleep and back to Moct to take down lights and get them back to Jason Fassl, who generously loaned them to us for the operation. I’m almost not-tired today, but I think it’s really tomorrow before I’m back on track energy-wise.
I had a meeting today about a different kind of live-arts event, a sort of musically-conducted painting, but the budget for that is probably $5-6,000 and the two Motionary Comics have already been largely out-of-pocket, in spite of all of the volunteer labor. Really what I need to do is figure out what to do with Bad Soviet Habits. For the moment, though, it’s going dormant.
All photos (c) Kelly Crandall, 2011.
Who somehow found out about the Dancing Building. Of course, Frank Gehry had something to do with it.
Chase and Molly asked for dancing in front of the dancing building, and the pirouettes just weren’t taking.
We like to this of Kelly’s picture as “Fred and Ginger in front of Fred and Ginger.”
Plus right to our left is the craziest statue! She’s like a superhero traffic sign. I’ll post that later, once I get it uploaded.
Thanks, Chase and Molly!!!
Who as his Kickstarter reward requested a photo in front of the Charles Bridge or on Petřín Hill. The latter proved unlikely, the former, accomplish-able.
In this picture, Andy and Kurt imagine what the other must have been like at UWM.
Thanks to Kirsten Stolle for the help!
Many many thanks to Julie and Tomkin Coleman for their support on Kickstarter!
Not much in the way of time right now, so I’ll just say that we had a good opening yesterday, and a decent paragraph review in the Prague Post.
Let the panicking begin… NOW!
The lights are in the air – now with safety cables! That’s so big chunks of metal filled with light bulbs don’t fall down on anyone’s head. We care about you.
We did a line-through in the space yesterday to start thinking about the practicalities of the acoustics. Moct is a a former garage – high ceilings, steel beams, brick exterior walls, drywall interior, concrete floor. Sound really bounces around in there.
Tonight we’re working with Matt Daniels of goats&monkeys (who just did a bang-up staged reading of THE TAMING OF THE SHREW), who’s helping us with some of our gestural stuff, then we’ll do a full run. And somewhere in there I actually have to focus the lights. There’s only four, so it’s not like it’s that big a deal, but it’s more stuff to do and it has to be done at night.
Print programs for the Thursday show. Print paper props.
LEARN MY LINES.