gilana: (Default)
You know how you worry before you introduce a new partner to your friends, for fear they won't see in him all the things that you do?

I got to introduce an audience to 84 Charing Cross Road tonight -- and thankfully, they fell in love with it as much as I did.  I sat in the dark theatre and listened to them getting caught up in the story and living it along with the characters, until I myself got too caught up in it to pay attention to anything other than what was happening on stage.

I'm so very proud of my actors, and frankly proud of myself, too, for all the work I've done and the decisions I've made that helped this production to be what it is.  And I'm so grateful for a wonderful group like T@F that provides a supportive environment to have experiences like this.  I cannot wait until tomorrow night to do it for a hopefully full house!
gilana: (Default)
I've been busy with work this week, thank goodness (and thank ctan!), so I haven't had much of a chance to post, but I can't tell you how excited I am about my Bare Bones tomorrow night.  Working on this play has been such a joy; we've all had fun doing research on the characters and literary references and historical era, and every rehearsal someone has something new and exciting to share.  I've never worked on a show before where everyone was eager to do so much work, in addition to the internal work of really exploring the characters and making them as full and rich and real as possible.  We had the best rehearsal last night, when we were finally at the point where I could put down my script and just sit back and watch them and listen.  They made me laugh harder than ever, and there were even a few tears at one point.  I'm looking forward to the dress rehearsal tonight and getting to see it onstage, and I'm twitching with anticipation for tomorrow night, when a full audience gets to enjoy it.  Yay!
gilana: (Default)
Thursday we had auditions for my Bare Bones, 84 Charing Cross Road.  I did a lot of prep for them, writing out my bullet points for what I needed to cover in the beginning, making myself sheets to keep track of what sides had been assigned, etc.  It definitely paid off -- things seemed to go very smoothly, and we finished both groups ahead of time.  And everyone seemed to have fun, which is even more important.  We got a really good turnout, including a number of people who have directed me in the past, which I found both very flattering and slightly nerve-wracking, as a sophomore director.

Casting was HARD -- there were so many good readings that I easily could have cast the show three times over, and gotten three entirely different but equally excellent shows.  But in the end you can only cast once, so I had to make some tough choices, including not choosing some friends who are amazing actors that I would have loved the chance to direct.  We ended up with two new people (one of who has auditioned for us before) and one old Firstie, namely...

Frank Doel - Andrew Harrington
Helene Hanff - Karen Fanale
Cecily Farr / Megan Wells / Maxine Stuart / Others - Liz Adams

Our first read-through is tomorrow, and I can't wait.  The show will be Thursday April 19 -- mark your calendars now!

gilana: (Default)
It's official -- 84 Charing Cross Road has been selected for the next Bare Bones!  My blurb:

In 1949, a struggling young New York playwright sent a letter inquiring about second-hand books to an antiquarian book store in London. So began a 20-year friendship between Helene Hanff and the booksellers at 84, Charing Cross Road. Taken from their actual letters, this story will amuse you, charm you, and send you running to your nearest library.

It's a really sweet and funny show, and I can't wait to see it brought to life in front of an audience.

Auditions are on March 15, and the show will be one night only, Thursday April 19, so mark your calendars now, or better yet, go sign up to audition!

Bare Bones

Nov. 8th, 2011 10:12 am
gilana: (Default)
Since some people seem to have missed this...

I’m going to be acting in Theatre@First's next Bare Bones, a week from Thursday!

WHAT: Theatre@First’s Bare Bones staged reading of “The Oldest Profession” by Paula Vogel
WHEN: One performance only! Thursday, November 17, 8pm
WHERE: Unity Somerville, 6 William Street (corner of College Ave.), Davis Square, Somerville
HOW: Come to the show! The event is unticketed, with a suggested donation of $5.

Visit www.theatreatfirst.org for more info.

SUMMARY
Paula Vogel's The Oldest Profession takes place in New York, just after Reagan's election in 1980. Five elderly prostitutes sit on a park bench, discussing diminishing clientele, increased competition, and aching joints. With wit, compassion and humor, they struggle to adjust to changing circumstances.

Note: The subject matter is not really appropriate for younger children – it would likely be rated PG-13.
gilana: (Default)
 I posted this to facebook, but since some of the Margaret Ghost principals aren't on there:

An upcoming event that might interest you:
Edgar Allan Poe and Margaret Fuller: A Conversation
gilana: (Default)
 I posted this to facebook, but since some of the Margaret Ghost principals aren't on there:

An upcoming event that might interest you:
Edgar Allan Poe and Margaret Fuller: A Conversation
gilana: (Default)
You've probably seen this in someone else's LJ by now, but given that it is only one night, I'd hate for you to miss it, so...

Come see my show! Staged reading of A Language of Their Own by Chay Yew, directed by Judy Yen. Tonight only! 8pm, Unity Church of God, right off College Ave in Davis Square.

[livejournal.com profile] dpolicar has put it better than I can:
The script includes some marvelous language... by turns lyrical and laconic, raw and wry. It's powerful and puerile, full of passion and pathos, and I'm pleased to be part of presenting it.

What's it about? Well... it's about love in the shadow of death, and about other shadows. It's about former lovers who never entirely leave us, and about current lovers who aren't always entirely present. It's about the baggage we carry from one relationship into another. It's about who we are and who we become, about the ways we change in relationships and the ways we don't.
gilana: (Default)
You've probably seen this in someone else's LJ by now, but given that it is only one night, I'd hate for you to miss it, so...

Come see my show! Staged reading of A Language of Their Own by Chay Yew, directed by Judy Yen. Tonight only! 8pm, Unity Church of God, right off College Ave in Davis Square.

[livejournal.com profile] dpolicar has put it better than I can:
The script includes some marvelous language... by turns lyrical and laconic, raw and wry. It's powerful and puerile, full of passion and pathos, and I'm pleased to be part of presenting it.

What's it about? Well... it's about love in the shadow of death, and about other shadows. It's about former lovers who never entirely leave us, and about current lovers who aren't always entirely present. It's about the baggage we carry from one relationship into another. It's about who we are and who we become, about the ways we change in relationships and the ways we don't.
gilana: (Default)
 Also, I'm performing in a play!

Theatre@First has started a program of staged readings called Bare Bones, and I'll be playing Robert in A Language of Their Own.

Ming is a young, twenty-something assimilated Asian-American who lives with his lover Oscar, a somewhat older Asian man. When Oscar tests positive for HIV, he tells his lover of four years to leave. Both men move on to new partners, Oscar with a younger Asian man, Daniel, and Ming with a Caucasian man, Robert. The play chronicles the four men's struggles in their relationships, highlighting the nature of love, desire, sexuality and self-identity in a series of interconnected stories. Performance pending agreement with playwright's representatives.

It's a great play with some really fabulous language, and it's not a part I'd ever get to play in a full staged production, so I'm thrilled to be in it now.  Hope you can come check it out!

ONE NIGHT ONLY!
Thursday, August 26th at 8pm
Unity Church of God, 6 William Street, Somerville, MA 02144
Suggested Donation $5 - No reservations required
gilana: (Default)
 Also, I'm performing in a play!

Theatre@First has started a program of staged readings called Bare Bones, and I'll be playing Robert in A Language of Their Own.

Ming is a young, twenty-something assimilated Asian-American who lives with his lover Oscar, a somewhat older Asian man. When Oscar tests positive for HIV, he tells his lover of four years to leave. Both men move on to new partners, Oscar with a younger Asian man, Daniel, and Ming with a Caucasian man, Robert. The play chronicles the four men's struggles in their relationships, highlighting the nature of love, desire, sexuality and self-identity in a series of interconnected stories. Performance pending agreement with playwright's representatives.

It's a great play with some really fabulous language, and it's not a part I'd ever get to play in a full staged production, so I'm thrilled to be in it now.  Hope you can come check it out!

ONE NIGHT ONLY!
Thursday, August 26th at 8pm
Unity Church of God, 6 William Street, Somerville, MA 02144
Suggested Donation $5 - No reservations required
gilana: (Default)
Saturday night was the last performance of Festival@First.

Yesterday morning I got back to work on the graphics for The Lady's Not for Burning.

Last night was a read-through for a new Red Shift episode, to be recorded this weekend.

Tonight was the first read-through for Bare Bones: A Language of Their Own.  (Which, holy shit.  Powerful play.  Delicious language.  Great characters.  And my castmates are [livejournal.com profile] desireearmfeldt , [livejournal.com profile] dpolicar , and [info]ladrescher, with the fabulous Judy Yen [who has an LJ but I'm forgetting what it is, sorry] directing us, so this is going to be a wonderful experience for both us and the audience.)

And it looks like I'm going to direct one of the plays for PMRP's The Big Broadcast of 1946 at the Somerville Theatre this fall, assuming we can find a way to work around the fact that I can't be there for auditions.

So, um, yeah... I may be a little busy for the next few months...
gilana: (Default)
Saturday night was the last performance of Festival@First.

Yesterday morning I got back to work on the graphics for The Lady's Not for Burning.

Last night was a read-through for a new Red Shift episode, to be recorded this weekend.

Tonight was the first read-through for Bare Bones: A Language of Their Own.  (Which, holy shit.  Powerful play.  Delicious language.  Great characters.  And my castmates are [livejournal.com profile] desireearmfeldt , [livejournal.com profile] dpolicar , and [info]ladrescher, with the fabulous Judy Yen [who has an LJ but I'm forgetting what it is, sorry] directing us, so this is going to be a wonderful experience for both us and the audience.)

And it looks like I'm going to direct one of the plays for PMRP's The Big Broadcast of 1946 at the Somerville Theatre this fall, assuming we can find a way to work around the fact that I can't be there for auditions.

So, um, yeah... I may be a little busy for the next few months...
gilana: (Default)
Festival@First: Shaken Up Shakespeare opens tonight! This evening's show is already sold out, so go reserve your tickets for the rest of the run now.

Meanwhile, you can check out a photo gallery online at the Somerville Journal. Sadly, the reporter had to leave before the intermission at dress rehearsal to make their deadline so you don't see most of the shows, but that just leaves more of a surprise!
gilana: (Default)
Festival@First: Shaken Up Shakespeare opens tonight! This evening's show is already sold out, so go reserve your tickets for the rest of the run now.

Meanwhile, you can check out a photo gallery online at the Somerville Journal. Sadly, the reporter had to leave before the intermission at dress rehearsal to make their deadline so you don't see most of the shows, but that just leaves more of a surprise!
gilana: (Default)
It's still probably cheaper to buy a copy at the show if you can, but I just got this offer and figured I'd share in case anyone planned to order a copy online.



The Margaret Ghost
Price: $15.00
Discount: $- 1.50
Discounted Price: $13.50




Disclaimer: Use coupon code SUMMERREAD305 at checkout and receive 10% off The Margaret Ghost. Maximum savings with this promotion is $10. You can only use the code once per account, and you can't use this coupon in combination with other coupon codes. Sorry, self-purchases (buying books that you’ve published) aren’t eligible. This great offer ends on June 30, 2010 at 11:59 PM so try not to procrastinate! While very unlikely we do reserve the right to change or revoke this offer at anytime, and of course we cannot offer this coupon where it is against the law to do so.

gilana: (Default)
It's still probably cheaper to buy a copy at the show if you can, but I just got this offer and figured I'd share in case anyone planned to order a copy online.



The Margaret Ghost
Price: $15.00
Discount: $- 1.50
Discounted Price: $13.50




Disclaimer: Use coupon code SUMMERREAD305 at checkout and receive 10% off The Margaret Ghost. Maximum savings with this promotion is $10. You can only use the code once per account, and you can't use this coupon in combination with other coupon codes. Sorry, self-purchases (buying books that you’ve published) aren’t eligible. This great offer ends on June 30, 2010 at 11:59 PM so try not to procrastinate! While very unlikely we do reserve the right to change or revoke this offer at anytime, and of course we cannot offer this coupon where it is against the law to do so.

gilana: (design)
[livejournal.com profile] muffyjo suggested I write something for The Margaret Ghost blog about the process of updating the art for the new production -- I'm posting it here as well for your convenience.

A few early logo concepts for Theatre@First's 2006 production of The Margaret GhostWhen I first designed the art for Theatre@First’s 2006 production of The Margaret Ghost, we were still a very young theatre company, and all of our materials were photocopied at someone’s office. All of our promotional art at the time had to be in black and white, to copy clearly. We’ve since graduated to printing in color, so I welcomed the chance to revisit the design and expand on it for this new production.

For the 2006 materials, the director and I had long talks about the play. We decided that the important things to emphasize were the humanity of the piece, including the fact that Margaret was a real woman, and her writing, which was such an important facet of her self-expression. We went through a number of rounds of possible fonts and quills, as you can see in the image on the side, before settling on the font Archive Petite Script, which brings to mind weathered writing from a quill pen, and a simple and less literal calligraphic flourish of a quill, positioned as if writing the title.

Final logo for the 2006 Theatre@First production of The Margaret Ghost

When it came time to update the art, I wanted to keep some consistency with the original, but add more depth and texture. To add to the sense of history, I decided to keep to literal physical objects. I looked through dozens of stock art photos of pens before finding a pen and ink set that grabbed me -- something utilitarian but with a sense of personality, and even a dash of femininity. We wanted to show a picure of the real-life Margaret, so I found an antique frame image to put it in, as if it were a miniature sitting on a desk.

For the background, I had hoped to find a sample of Margaret’s own writing to scan and use as a texture. When that failed, I took an excerpt from one of her books and typeset it in a vintage handwriting font, blurred it enough to not be distracting, and added some vintage paper behind it.

I decided to use a dark sepia brown for the type, and toned the pen set and frame to a dark bronze to match and create a more unified whole.

Updated logo for the 2010 Theatre@First production of The Margaret Ghost

And there you have it! Same play, same message, but a very different look.

--Gilly Rosenthol, RosentholDesign.com
gilana: (design)
[livejournal.com profile] muffyjo suggested I write something for The Margaret Ghost blog about the process of updating the art for the new production -- I'm posting it here as well for your convenience.

A few early logo concepts for Theatre@First's 2006 production of The Margaret GhostWhen I first designed the art for Theatre@First’s 2006 production of The Margaret Ghost, we were still a very young theatre company, and all of our materials were photocopied at someone’s office. All of our promotional art at the time had to be in black and white, to copy clearly. We’ve since graduated to printing in color, so I welcomed the chance to revisit the design and expand on it for this new production.

For the 2006 materials, the director and I had long talks about the play. We decided that the important things to emphasize were the humanity of the piece, including the fact that Margaret was a real woman, and her writing, which was such an important facet of her self-expression. We went through a number of rounds of possible fonts and quills, as you can see in the image on the side, before settling on the font Archive Petite Script, which brings to mind weathered writing from a quill pen, and a simple and less literal calligraphic flourish of a quill, positioned as if writing the title.

Final logo for the 2006 Theatre@First production of The Margaret Ghost

When it came time to update the art, I wanted to keep some consistency with the original, but add more depth and texture. To add to the sense of history, I decided to keep to literal physical objects. I looked through dozens of stock art photos of pens before finding a pen and ink set that grabbed me -- something utilitarian but with a sense of personality, and even a dash of femininity. We wanted to show a picure of the real-life Margaret, so I found an antique frame image to put it in, as if it were a miniature sitting on a desk.

For the background, I had hoped to find a sample of Margaret’s own writing to scan and use as a texture. When that failed, I took an excerpt from one of her books and typeset it in a vintage handwriting font, blurred it enough to not be distracting, and added some vintage paper behind it.

I decided to use a dark sepia brown for the type, and toned the pen set and frame to a dark bronze to match and create a more unified whole.

Updated logo for the 2010 Theatre@First production of The Margaret Ghost

And there you have it! Same play, same message, but a very different look.

--Gilly Rosenthol, RosentholDesign.com
gilana: (Default)
A book is an inherently satisfying object to hold in your hands, at least to me.  But to be holding a book that I actually designed myself -- well, believe it or not, it's actually even more exciting than holding one that I was published in.  (Of course, they misspelled my name that time; at least this time, I can make sure it's right!)

This is my first book, and it's a bound copy of the script for The Margaret Ghost, so the fact that it's a T@F project makes it even more special.  The ever-patient [livejournal.com profile] lillibet and I have spent a more hours than I care to count going over and over and over it, eleven rounds of revisions at last count, but I think it's really paid off -- it looks, well, professional!  I wish I could do more books, but sadly, breaking into publishing is really tough.  Still, having a sample to show off is a good start.

This is just the sample copy, the test pancake so to speak, so I have a few tweaks to make, but by the time the show rolls around, if not before, we should have copies for sale.  I can't wait for everyone to see them!  And the contents are pretty great, too; in addition to the script, the book contains an introduction and postscript by [livejournal.com profile] lillibet , and a paper by the playwright.  I think we're planning to sell them for $15, so bring money to the show! :)  And we'll probably also be selling them directly through lulu.com, although that will add some shipping costs.

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