Short Version of Long Tale

Sorry about the dearth of posting of late, folks. I've been absolutely swamped with a number of disparate things (from work, to my personal life, to fundraising for Nosedive to prepping for The Little One). I'm actually hoping to write some entries on each of these elements at some point in the not-too-distant future.

In fact, Nosedive's working on a rather ambitious undertaking (well, ambitious for Nosedive, anyway), something that may merit a Guide to Self-Producing entry in the not-too-distant future (although I think I have to wait to see the results of said undertaking, and report on it either way, success or failure).

The short version is that we're involved in our largest fundraising effort to-date to finance our most expensive show to-date* (and bear in mind I mean, like, $12 grand...many of our peers stage shows four to five times that) as a means of enabling Nosedive to sustain itself and grow over the next few years.

Suffice it to say, we realized that we can't keep funding the shows the way we have been before. That is to say, we usually use the remaining "profit" from the previous show (about 1% of the next show's budget), collect a couple donations (about 10% of the budget), then scramble to pay for the rest (89%) ourselves based on which producer has money in their account at any given moment something is due (oh yes, we're professionals here at Nosedive Central; professionals who plan ahead).

We were fortunate to do our ninth season as a co-production with the Brick, which enabled us to produce two shows without having to put in a dime of our own money into either production. That was the upside. The downside was that we didn't really create enough of a reserve capital (since we split ticket sales with the Brick 50-50) to pay for the next show.

So, we've been working on a new(ish) finance/business plan that will enable Nosedive to continue without relying on the whims of its producers' employment statuses and income levels. If this works (even a little bit), perhaps we can continue to put out work we can be proud of and be just a little more financially solvent and independent.

We shall see. As always, we shall see.

That was the short version. I hope to write about the long version in the not-too-distant future.

Waggling his weenis at oncoming cars,

James "Business Exec" Comtois

*Little Nosedive fun-fact: our most expensive show until now was The Adventures of Nervous-Boy, which was about $9,500. And oddly enough, it was profitable.

Thumbs Down. Wait! Thumbs Up...?

As I've already nattered on at length about my enjoyment and fascination with film and theatre criticism, I was incredibly pleased to see that the deliberately dumbed-down version of At the Movies was scrapped (dumping Ben Mankiewicz and Ben Lyons) and brought back up to snuff by bringing on two critics, A.O. Scott and Michael Phillips, who actually think and care about movies. I also really liked reading this brilliant essay by Noel Murray at the AV Club rightfully praising the re-revamped show.

I particularly dug and related to this section:

"Some cineastes have blasted Siskel & Ebert for their thumbs-up/thumbs-down reductionism and their dispatching of movies in three minutes of conversation, but those nay-sayers likely didn’t watch the show week-in/week-out. I’d argue that Siskel & Ebert did more to foster a broad interest in artful cinema than any critic ever has.

At the least, they showed that it was possible to talk about the movie business on television without having it be all about money or gossip. It just about crushes my soul when I tune in the red carpet coverage on Oscar night—or even the cable news coverage on nomination day—and suffer hosts who clearly haven’t seen or even heard most of the movies they’ve been assigned to cover. The guiding principle of most movie coverage on television is that viewers are interested in celebrities, not the work that makes celebrities."

Emphasis mine.

So I was definitely disheartened to read shortly thereafter that At the Movies is being cancelled. That this announcement immediately follows the news of Variety letting go of its chief film critic Todd McCarthy and its chief theatre critic David Rooney made the cancelation of the series all the more upsetting.

However, all is not lost. Roger Ebert has just announced that he and his wife, Chaz, are in the planning stages for producing a new film criticism show. He offers some details, but only some. Fortunately it sounds less of a "pie in the sky" plan and more of a "we actually have a few balls rolling" deal. This makes me hopeful.

I also agree with Mr. Ebert when he writes that he and his wife "believe a market still exists for a weekly show where a couple of critics review new movies."

There has to still be a market for a show where people talk and think about the work that makes celebrities, not just the celebrities themselves (or rather, what the celebrities are wearing). There has to be a market for a show where reasonably intelligent people to cut through the thick fog created by the PR machine and go, "this movie is Garbage!" (and let me tell you, it's refreshing to watch the archived shows and hear the late Gene Siskel exclaim that about a film with such conviction; it's almost unheard of in this day and age where the bulk of mainstream commentary on film is so soft-pedaled). And there has to be a large enough demographic out there that actually cares about movies, and wants to think about what to go see.

Anyway, I am hopeful.

I guess that's it for me for this week. Have a good weekend, folks. I'll catch y'all on Monday.

Not knowing where to shove his thumb,

James "Suggestions?" Comtois

Alice in Slasherland

With Alice in Slasherland, the Vampire Cowboys Theatre Company has created a send-up of both slasher films and Alice in Wonderland that’s really not a sendup of either. Don't worry: the show acknowledges this on more than one occasion. And, ultimately, it doesn't matter.

What does matter, of course, is that it's a Vampire Cowboys show. Which means it's great fun from start to finish and very much worth your while. Unless, of course, you're not into having fun.

I mean, yes, there's a scene where a bunch of teenagers go to a party, get drunk, get laid, then get killed by a machete-wielding giant in a mask. Yes, that mask looks like a combination of Jason Vorhees's hockey mask and that of a white rabbit. Yes, there's a lot of spraying blood. And yes, there's a creepy girl (who acts like the girl from The Ring) named Alice. But that just about does it for the similarities.

But come on. You aren’t going to see a Cowboys show for a treatise on Lewis Carroll’s work or a dissection of a brain-dead subgenre, are you?

Once again, writer Qui Nguyen and director Robert Ross Parker (who Isaac Butler once aptly described as "the Simon Pegg and Edgar Wright of the New York theatre scene") and the rest of the company offer 100 minutes of pure, unbridled fun with their latest production. I was thoroughly absorbed and entertained from the moment the "turn off your cell phones" message was offered in the form of a 1970s-style grindhouse trailer ("The Devil's Usher"). You will be, too.

Unless, of course, you're not into having fun.

In Alice in Slasherland, Carlo Alban plays Lewis, a young geek who pines over his best friend, Margaret (Bonnie Sherman). He tries - and fails - to convey his feelings to Margaret at a party hosted by the ultra popular hottie, Tina (Andrea Marie Smith). At the previously-mentioned party at Tina's house (where a drunken Tina sports an, um...fetching...devil costume), Lewis inadvertently opens a gateway to hell, where all sorts of demons and infernal beasties rise up and wreak havoc on the town. Oops.

In addition to opening a portal to hell, Lewis resurrects the soul of a murdered girl named Alice (Amy Kim Waschke). She's very cute, and seems nice enough, even though she's not much of a talker. And oh, yeah. She seems to enjoy the taste of human flesh. So. There's that.

Now with various demons, monsters and killers destroying his town, Lewis must find a way to close the portal before Lucifer shows up. But of course he can't do it alone. He'll need the help of Alice, Margaret, and a demon named Edgar in the form of an adorable trash-talking teddy bear (voiced and puppeteered by Sheldon Best).

Edgar is a truly delightful and ambitious creation. The Cowboys have often featured puppetwork in their shows, but this is the first time they've had a puppet play a main character you connect with and root for. It's a risk, but the risk pays off superbly.

The cast, which features veteran (Tom Myers, Smith, Waschke, Alban) and recent (Best, Sherman) company actors, is amazing. It's not easy to control puppets, make multiple costume changes, engage in stage combat (sometimes in either a bear suit or evening gown), all while remaining funny and engaging. These guys just make it seem that way.

The design team has also outdone itself again, from Nick Francone's outstanding scenic and lighting design, to Jessica Shay's inspired costumes, to Shane Rettig's spot-on sound. David Valentine's puppet work is once again superlative and up to the previously-mentioned challenge of creating a stuffed character we care about through the duration of the show. Additionally, Matthew Tennie's multimedia design is also a fun new ingredient to the company's aesthetic.

Although not really a sendup of slasher films or Carroll’s seminal stories, Alice in Slasherland is actually a sendup of all of the company’s previous works. There are a number of nods and references throughout the show—both sly and overt—to their previous productions, which is an added treat to folks like me who've been going to their shows for a while now.

The Cowboys have always been about not only celebrating genre storytelling, but also celebrating theatre and what the medium can do. They've also always been about offering its fans rewards (beyond, you know, the self-evident rewards of seeing a teddy bear fighting a demon) and again, loads of fun. So you should definitely go.

Unless, of course, you're not into having fun.

Alice in Slasherland is playing at the HERE Arts Center on 145 Sixth Avenue through April 10. Click here for tickets.

Qui and Robert's retarded brother,

James "Fun-Loving Idiot" Comtois

Photo: Bonnie Sherman, Sheldon Best, and Carlo Alban in Alice in Slasherland. Photo by Jim Baldassare.

Note: Although many of the members of the company are good friends and frequent collaborators, I have tagged this entry as a review for simplicity's sake. Yes, I am biased. Yes, I paid for my ticket (though at a discounted price.) But I'm also being honest. I loved this show, and am reporting so. Those that feel some sort of ethical line is being crossed here are welcome to debate amongst yourselves. Just make sure to buy your tickets.

Tonight: Flux's ForePlay Begins! (Climax to Arrive Later This Spring.)

I was hoping to write up and post my thoughts on Vampire Cowboys' latest, Alice in Slasherland, today, but realize I first need to bring your attention an event that's taking place tonight.

To kick off Flux Theatre Ensemble's upcoming new show, Jacob's House, a modern retelling of Jacob wrestling the Angel, the company is presenting ForePlay: Divine Reckonings, a play reading series where 16 playwrights (Yours Truly included) re-imagine eight stories from the Old Testament.

Tonight's theme is Secrets & Lies, which features two short plays (by Johnna Adams and Kristen Palmer) focused on the story of Queen Esther and two (by Brian Pracht and Yours Truly) on the story of David & Bathsheba.

All four shorts will be directed by Jordana Williams. You may know her as the person who directed such pieces of awesomeness as Viral, Mother Sacramento and Hail Satan. I know her as the lovely lady that tolerates our inane shenanigans over at my sister & Marc's place during our Bad Movie Nights, mercifully chooses not to punch me when I stroke her pregnant tummy, and offers to bake us cookies when Nosedive co-pilot Pete Boisvert suffers weird, hospital stay-inducing seizures.

And also, of course, as the awesome director of awesome shows.

Secret's & Lies goes up tonight at 7:30 at Judson Memorial Church on 239 Thompson Street.

Below are the details of the entire reading series.

The ForePlay Schedule - Divine Reckonings

Monday, March 22nd at 7:30PM
Judson Memorial Church (239 Thompson St)
Secrets and Lies
focusing on the stories of Queen Esther and David & Bathsheba
Featuring works by
Johnna Adams, James Comtois,
Kristen Palmer & Brian Pracht
Directed by Jordana Williams

Monday, April 5th at 7:30 p.m.
Irondale Center (85 South Oxford St, Brooklyn)
Journeys
focusing on the stories of Abraham & Sarah and Ruth & Naomi
Featuring works by
Rob Ackerman, Jeremy Basescu,
Bekah Brunstetter & David Ian Lee
Directed by Angela Astle

Monday, April 19th at 7:30 p.m.
Irondale Center (85 South Oxford St, Brooklyn)
I and Thou
focusing on the stories of Moses and The Binding of Isaac
Featuring works by
Leila Buck, Christine Evans,
Michael John Garces & Bill George
Directed by Heather Cohn

Monday, May 10th at 7 p.m.
Access Theater Gallery (380 Broadway, 4th Floor)
An Awesome God
focusing on The Creation Story and The Rebellion of Korah
Featuring works by
Erin Browne, Fengar Gael,
Mac Rogers & Crystal Skillman
Directed by Michael Davis

So, I will be attending this tonight. Tomorrow, I will write about Alice in Slasherland.

Always accepting baked goods,

James "Biblical Scholar" Comtois

Glee Club Revisited

I saw Blue Coyote's Glee Club last night, making it the third time I had seen the piece. It made my "Top Ten" list for 2009 and, although it's ineligible for being on this year's list (no repeats, alas), I was reminded of why it's up there.

Although I originally wrote about the show obliquely as to avoid spoilers (and the very act of talking about the heart of the play would be offering spoilers), I don't believe I will do so this time around, since I'd like to finally take some time to so write candidly about the show. So be forewarned, this entry not only contains spoilers, but could very well be seen as One Big Spoiler.

It's a show that is very funny, grim and original. I honestly can't think of any other show I've seen like it.

Yes, Glee Club, written by Matthew Freeman and directed by Kyle Ancowitz, is about a glee club. There's more to it than that obviously, but we'll discuss that later. Its members are amateurs in every sense of the word. Yes, we find out (at the end) that they're competent singers. But beyond their ability to carry a tune, they are about as unprofessional as a group like this could be.

Most of them would clearly rather be doing anything else except singing (yes, one of them has a good excuse: he's going through a hateful divorce, so he has other things on his mind). None of the men like each other. Hell, they can't even be bothered to feign civility. You know you're dealing with a contemptible group when the club's token psychopath (and possible mass murderer) is the most appealing character.

For such middling talents, most of the members of the club act like divas about to give the performance of a lifetime.

Which brings us to the performance in question they're rehearsing for: they're preparing to sing a song (yes, apparently only one) at a nursing home, where the glee club's oldest alumnus and sole benefactor resides. In my youth, I've sang in choral groups, and have performed many times for residents of nursing homes, and I can assure you: the audience in those gigs don't care too much if you're on key or not. They're often just grateful to be given some sort of outside entertainment that breaks up their otherwise monotonous days.

The club's best singer, Hank (Tom Staggs), shows up late. He tries to sing the solo. He fails. Something's off. Then, he drops a bomb on the rest of the group: he's a recovering alcoholic and just started the path to sobriety.

Apparently Hank can no longer sing now that he's on the wagon, which dismays almost everyone else in the group (except for Matthew Trumbull's Stan, the only genuinely supportive member of the club; and Steven Burns' Paul, the previously-mentioned psycho, who's too caught up in thinking about dismembering bodies than whatever drama is going on in the room). Their responses range from passive-aggressive to outright hostile and ghoulish (they concoct a plot to slip booze in Hank's coffee).

The conductor and leader of the glee club, Ben (a delightfully haggard and spastic Stephen Speights), plays lip service to being supportive of Hank and his decision to get sober, but it's painfully clear he's disappointed with Hank's timing. After all, couldn't he have discussed this with the group? Couldn't he have just waited a couple days after their most important gig to go on the wagon? But it's great, great that he's kicked such a destructive habit! The timing's terrible, and it may be a bit selfish, but it's great!

The stakes for the characters are staggeringly low. Yet they act as if their lives depend on this performance. Or rather, they act as if Hank's life depends on it. (Though, even if this were a performance at Carnegie Hall, would their behavior be any less abhorrent?)

Eventually, Hank gives into the wishes of his fellow glee club members and downs a bottle of vodka. Drunk out of his mind (and barely able to stay standing), the play ends with the group singing the song, which is quite upbeat and hummable. We're reasonably certain that the gig will be a success, and that Hank's life will spiral further and further down. Apparently the group, Hank included, believes this is a justifiable sacrifice.

So. Is this a comedy or a tragedy? What does it sound like to you? What makes Glee Club slyly deceptive (and palatable) is that a.) it is very, very funny, b.) it ends with the peppiest of peppy songs, and c.) its characters are written very broadly. They feel like characters from a sitcom, albeit one that allows a lot of swearing.

I actually don't mean that critically. That the characters are more or less caricatures lulls you into a false comfort level, where your natural instinct is to laugh (rather than to be appalled). Freeman and Ancowitz are clearly having fun delivering very dark subject matter in such a light package.

Glee Club is a play that deals with the almost universal desires to be accepted (even when the group in question is unworthy of your attention), to have some sort of success in show business (no matter how small or pathetic), and to be given instant gratification. Although we all know you can't "postpone" sobriety, and whatever hindrances Hank has in his abilities are only temporary, what matters is he delivers that weekend.

Apparently Hank has all these poisoned desires just as much as his fellow club members. Either that, or he realizes that with friends like these, who needs a reason to live?

Glee Club is playing at the Access Theater on 380 Broadway until April 3. Click here for tickets.

Laughing at those less fortunate than me,

James "Charitable" Comtois

Reliving the Gala, Part Two: The Photos

Yesterday, I showed the four videos Ben VandenBoom created for our 10th Anniversary Gala. Today, I'm showing some the photos he's uploaded.

Here are some select photos:

Our incorrigible and excitable host, Bastard Keith.



Sean Williams and Mac Rogers
figure out how to kill Yours Truly
in Mac's aptly-named "Get Jimmy."



Alisha Spielmann and Neimah Djourabchi in
Crystal Skillman's "Ten Year Twilight," bringing
some much-needed tenderness and class to the joint.



Our musical act for the evening, Dye Violets,
comprised of Sarah Engelke and Adam Swiderski.



Christopher Yustin, Rebecca Comtois and Patrick Shearer
in Jeff Lewonczyk's "The Nosedive Decade."



Epic poet Brian Silliman explains to the crowd how
Nosedive may survive another 10 years if we
change our name to "Vampire Cowboys."



Do you really need a caption? I'm sure this had something to do with a script by Qui Nguyen, but...it really kinda speaks for itself, doesn't it?

There are more photos, which I'll give the link for as soon as I find out if the album is public or private. (I know, I know, I should automatically know shit like that, but look: just because I "maintain" a blog, doesn't mean I have any technical know-how, or any desire to gain any.)

In the meantime, you're welcome.

Dropping the mic (on his foot),

James "...ow..." Comtois

Reliving the Gala, Part One: The Videos

Well, gang. I know not everyone could make the Gala last week. But we here at Nosedive Central aren't a, "You Snooze, You Lose" kinda company.

So with that, I wanted to offer folks just a slight taste of what was experienced at our 10th anniversary shebang (minus the debauchery, which unfortunately, is a, "You Snooze, You Lose" kinda situation).

With this entry, I'm posting the retrospective videos we played throughout the night. I think they offer a decent kinda-sorta idea of the

shenanigans we participated in over the past decade. (They're also up on the Nosedive Web site.) Some are goofy, some are (dare I say) touching, and some are both. At any rate, I hope you enjoy them. Ben VandenBoom did (in my not-so-humble opinion) a spectacular job putting these videos together from the decade's worth of footage we've accumulated.

And it's fun to see footage of me with dark hair.

(I should probably add that some of the videos, particularly the third one, have some not-safe-for-work elements. Like Yours Truly's pre-9/11-era jiggling bare ass.)

10 Years: Gratitude from Pete Boisvert on Vimeo.

10 Years: A Chronology from Pete Boisvert on Vimeo.

10 Years: The Monkey Years from Pete Boisvert on Vimeo.

10 Years: Valentine from Pete Boisvert on Vimeo.

With the next entry, I present the photos (and proof that no one in Nosedive, or even tangentially related to the company, can ever run for public office).

Slightly nostalgic and quite bemused,

James "Dorkahedron" Comtois

Countdown to Slasherland

I am getting exorbitantly pumped for the Vampire Cowboys Theatre Company's latest show, Alice in Slasherland, which opens this Thursday.

I've already bought my ticket for this Friday and plan to go again the following weekend.

Every year, the Cowboys do a show that takes on a particular fanboy genre, be it sci-fi fantasy, superhero comics, zombie films or '70s blacksploitation.

This time around, obviously, they're taking on the slasher film genre.

Oh, yes. Ooohh, yes.

The Cowboys are without question one of my favorite theatre companies of all-time. Every show I've seen since A Beginner's Guide to Deicide has made it to my Top Five list each year, a couple plays making it to the Number One slot. They're also a group of some of my favorite people (we often work with writer/co-artistic director Qui Nguyen, recently did a show with Slasherland star Andrea Marie Smith, and always enjoy being part of their Saturday Night Saloons out at the Battle Ranch).

Hell, I even just babysat for Qui and Abby (both Baby Badass Nguyen and I left the experience unscathed).

They know how to put on a show that the audience is just going to enjoy the hell out of. They put on plays that I'm genuinely giddy to go see.

They know how to bring it, is what I'm trying to say.

Check out all the promotional material, blog entries and interviews with the creative team here. Then go buy your tickets. Like, now.

This shit's selling fast. It is, after all, a Vampire Cowboys show.

Such a fuckin dork,

James "I Meant, Fanboy" Comtois

No Time To Waste Reminiscing

And of course, with all of the insane fanfare and touching nostalgia known as the 10th Anniversary Gala over and done with, it's back to work.

The folks at Nosedive Central are very, very close in closing the deal on our venue for The Little One, our new vampire play.

Leave it to Nosedive to tell a story about vampires a solid year after folks have gotten sick of them (to paraphrase Bastard Keith from Tuesday). Yes indeed, that's how we roll (to paraphrase Crystal Skillman from Tuesday).

Showing up to the cultural zeitgeist a day late and a dollar short aside, we're currently trying to figure out a time to go over to the space to sign the contract and make the first payment. As soon as that happens, we'll let you know when and where we're unveiling this latest Nosedive beast.

Anyway, have a good weekend, folks. Try not to put your genitals on anything that glows.

Always lookin' out for ya,

James "Neon Danger" Comtois

Hu-fucking-zzah!

I have to say, last night's 10th Anniversary Gala went about as well (and got about as nuts) as any of us in Nosedive Central could hope for it to be. I'm still actually reeling from it the following afternoon.

I knew when our incorrigible host, Bastard Keith, exposed his balls to the audience in the second half of the show, it was going to be That Kind of Evening.

At any rate, I had an absolute blast, and I hope everyone else in attendance had as much fun as I did.

I really want to thank everyone who worked on this, and to everyone who made it out last night. Seriously, folks, thank you so much. It means a great deal to me.

Also, thanks to everyone at the Brick Theater for letting us engage in such silliness in your home.

And to all you other fuckers in Nosedive Central, thanks for making this decade anniversary happen. Congratufuckinglations, guys. You assholes are awesome.

And if I may be so uncharacteristically sappy for just a moment, I'd like to briefly reflect on how lucky I consider myself to be by having such immensely talented and batshit insane friends and colleagues. I consider myself very, very lucky indeed to know all of you.

Okay. Enough sweetness. Time to go put on a fuckin' play.

Still giddy,

James "Keith! Put Your Balls Back!" Comtois

This Tuesday: Nosedive's 10th Anniversary Gala

That's right, folks. To celebrate 10 years of playmaking shenanigans, we're starting this 10th anniversary season with a bang. And by "bang," I mean, "evening of entertainment and imbibing mass quantities of alcohol" (that's what "bang" means, right?).

This Tuesday, March 9, Nosedive Productions is having its 10th Anniversary Gala at the Brick Theater.

The way it works is simple: you show up to the Brick on Tuesday night with $20, we entertain the hell out of you and get you all liquored up.

You have a blast. We have some startup money for our upcoming play, The Little One. Everyone wins.

Trust me, folks. It's a-gonna be crazy fun.

Getting all lathered up,

James "Scottish Spring" Comtois

Nosedive Productions Presents

Nosedive's 10th Anniversary Gala

A Fundraising Variety Show & Party a Decade in the Making

In addition to drinking heavily and waxing nostalgic, Nosedive has rounded up some of its crazy-talented pals over the years to offer an evening of socializing and variety acts, including:

New Short Works By
Jeff Lewonczyk
Qui Nguyen
Mac Rogers
Crystal Skillman

A Short Film By Bryan Enk

The Epic Poetry Stylings of Brian Silliman

Burlesque by the lovely and libido-inspiring Mme. Renee Rosebud

And (as the kids say) MORE!

Hosted by Bastard Keith

Tuesday, March 9th at 8 p.m.!

At the Brick Theater on 575 Metropolitan Ave. in Williamsburg, Brooklyn

(Between Lorimer Street and Union Ave.)
G L trains to Lorimer Street/Metropolitan Ave.

Doors at 7:30 p.m., Show at 8 p.m., Party thereafter

$20, All You Can Drink

www.nosediveproductions.com

What Would Jesus Do? See Plays? Please...

Well, yes. I turn the Christy age of 33 today. (As my friend and partner-in-many-crimes Abe Goldfarb pointed out, "That age is the only thing you and Jesus have in common." This is very difficult to argue against.)

At any rate, I’ve received a great deal of very sweet notes from friends and family members over the course of the day, as well as a couple free (and nice) meals out of the deal. So I’m pretty happy with how the day’s going, all things considering.

So seriously, folks. Thanks to everyone who's dropped me a line today wishing me a happy birthday. You guys are awesome.

At any rate, I'm working on getting the hang of my new day job (I’ve almost completed my first week on the job). Since they’ve yet to fire or yell at me, I'd say it's going as good as one can expect. I have found the coffee room, so at least there’s that.

In the non day job side of thing, we here at Nosedive Central are closing in on a "plan of attack" for our proposed next production of The Little One (a new vampire play written by Yours Truly to be directed by Pete Boisvert) and once we lock down a plan, I’ll be sure to let you know, dear readers.

In the meantime, I’ll offer a note of congratulations to the cast and crew of Glee Club for selling out its opening night show last night, and bring up how much I’m looking forward to seeing this (for the second time) tomorrow:

And this on Friday, March 19:

Can't. Freakin. Wait.

In between, I hope to see a great number of you at this on Tuesday.

Smearing chocolate cake all over his shirt,

James "Not-So-Impressive Co-Worker" Comtois

Glee Club Opens Tonight

Glee Club, one of the best plays I saw last year, kicks off its remounted run tonight at the Access Theater in Tribeca. Go see it.

Gleeful,

James "Yes, That's The Best I Could Do" Comtois

Little Jimmy's Guide to Self-Producing: The Round-Up

Well, slap my ass. I actually got myself a jobby. After a few months of rolling around in my own sick in my living room while wearing a newspaper diaper (periodically singing atonally, "Dontchoo wish your boyfriend was...hot...like...me..."), some media outlet has decided to take a chance on Yours Truly to not stink up the joint.

Although I don't think this should alter my blogging pace, it should only alter my blogging habits (i.e., blogging in the PM rather than AM), which is just some inside baseball that I realize means fuck-all to you, dear readers.

So. As you read this (which is being typed up over the weekend and posted on Monday morning), I should be fumbling my way around the new office that has foolishly decided to employ me in a foolish hope to find the coffee room.

But rather than just blather on about now being gainfully employed, I figured I'd round up the first 10 Little Jimmy's Guide to Self-Producing entries for your convenience. I believe more shall be on their way, although my scattered brain often has a tough time figuring out how exactly to proceed next.

Part 1: An Introduction

Part 2: Getting Started

Part 3: Landing the First Show

Part 4: Moving Forward, Some Words of Caution

Part 5: Fundraising

Part 6: A Brief Tangential Pause (i.e., Ambient Bitching About Institutional Theatre)

Part 7: Publicity

Part 8: Filling the Gaps

Part 9: Festivals, Residencies & Co-Productions

Part 10: Getting the Band Together

More are sure to come in the future! Just as soon as I can find the goddamn coffee room.

The bumbling new guy,

James "Nope, That Ain't the Coffee Room" Comtois