Journals for 1776

March 22, 2002
Well the four day layoff didn't seem to do too much damage. The only really noticable misstep was due to someone being too much into the scene. That shouldn't happen again. Even fighting my sinus infection didn't hurt the show, whew. First Thursday gone! Good job ladies and gentlemen, I look forward to this evening.

March 19, 2002
To paraphrase another of my favorite musicals "One weekend gone!". I love opening a show. The energy from an opening night crowd is truly exhilarating, it feeds a performer as nothing else will. The response from Friday night's audience was INCREDIBLE! They responded to everything in the most positive way, so much more than I thought was possible. Laughter, laughter and more laughter, as well as appreciating those parts of the show that make you think rather than laugh, they were a dream audience. Saturday's audience while not as overtly exuberant were also truly appreciative and demonstrative. Thank you all, come back and bring your friends. I am sorry that we only have ten more performances, this show is too enjoyable to give up. (Big Sigh). See you at the theater.

March 15, 2002
Final Dress. Always an interesting proposition. Last night had the added "benefit" of the paranoia remaining from the strange lack of lyrics from the night before. The run turned out to be our best yet. There were a few instances of actors jumping on others' lines and a bobbled line here and there, but on the whole it was a smooth, fast paced show. The audiences for Final Dress are predictable only in their unpredictability. The audience last night provided enough reaction throughout the entire show to test our concentration and mettle. We survived. On to Opening Night. The jitters will be bigger (they've already arrived for me), but the rewards will be sweeter at the end of the night, and we'll have a good honest reaction to the show from an actual paying audience. (The theory being that a paying audience is a more discriminating audience.) See you at the theatre.

March 14, 2002
We finally picked up the pace of the show last night and it felt much better than it ever has. We still have room for improvement in that regard but we are getting better with each run. That is a fabulous feeling, seeing the improvement on a day to day basis. What isn't so great is forgetting the lyrics to a song that you've had cold for months, right in the middle of the first verse. Right now my paranoia knows no bounds, tonight's run should be without a single gaffe due to my obsessive preparation over the course of today. Jeez.

March 13, 2002
We had a fairly decent run, after a dark night, last night. If I can get over my paranoia in regard to meshing with the orchestra I'll be better off. After a rocky beginning with the second song of the show things took off and went smoothly (for the most part). If we can speed up cue pickups and pacing in the third and seventh scenes this is going to be a great show. Now it's a good show, I'm looking forward to the improvements we make in the next two evenings worth of work. See you at the theatre.

March 11, 2002
Tech Sunday. The words that strike fear into a community theatre actor. This one was fairly smooth. The best part was wearing the incredible costumes created (and I do mean created) for this show. These are wonderful costumes. They look fantastic from our point of view, I'm sure they look even better from the audience's perspective. These costumes add so much to our characterizations, they affect the way we walk, stand, and our posture. The show wouldn't be half of what it is without the work done by the costumers. Thank you all.

March 8, 2002
Another run through with the orchestra accomplished. We are making discernable progress too. There were the inevitable flubs (we're still working on that timing the entrance to the song thing), but on the whole it was head and shoulders above where we were just a few days ago. What we must concentrate on at this point is picking up the cues within the dialogue of the scenes. If we don't find the excitement within our characters how can we hope to excite the audiences? Fortunately when Jeanette gave us the "...pick up your cues and deliver your lines faster..." yell we did. Everyone did their best to keep the flow going and I am proud to say that the entire cast did so (you go Don). Sunday - FULL TECH. Enough said.

March 7, 2002
There comes a point in every production where I am reminded why most people do theatre. It isn't because they are out to create the perfect work of art. It isn't because they want to entertain the public and become celebrities. It IS because they want to have FUN and participating in a show is hugely enjoyable. Sometimes I get so caught up in trying to make the show perfect that I forget that the real purpose is to enjoy myself and the people that I am working with. Last night that was brought back to my attention (thank you Bill/Mr. Hopkins). If the process isn't fun why are we there? If I am so caught up in getting everything perfect, what kind of a pain in the ass does the rest of the cast think I am? I am having fun, I will have fun, and I will enjoy interacting with everyone else in the production. ONE WEEK TO GO!!!

March 6, 2002
Well everyone is entitled to an off night. I more than used mine last night. I went in thinking that we were going to have a run-through with the orchestra and it turned out that we worked on the music. This was a much needed process. Coordinating what the orchestra is playing with what we (on stage) are doing, and what their cues are to begin playing, as well as figuring out what the sound quality is like between the pit and the stage are not easily done. Hopefully we accomplished most of that coordination last night. Unfortunately my head was elsewhere (I'm still not sure where) and I was having a hard time remembering my name, much less lines and lyrics I've had down for many weeks. This just goes to show that theatre is more than 90 % CONCENTRATION. I hope I find mine soon and hold on to it through the rest of this production.

March 5, 2002
After Sunday's full run-through, we had a smaller "fine-tuning" rehearsal last night. Due to auditions on the mainstage we were forced to utilize the "multi-purpose room", a small echo-filled room. We fine-tuned the movement to one of the songs and then worked the dialogue within two scenes. That is the kind of rehearsal that I enjoy. Working on the movement, vocal interpretation, and interaction between characters is some of the most satisfying work in the world of theatre. Too bad that we can't do more of it, but it is too hard to keep everyone's attention when there are 25 people on stage and only 3 or 4 are working. Ah well, every little bit helps. Onward and upward!

March 4, 2002
Ah! The first run-through. There is no part of the rehearsal process that gives an actor a better idea of how the show is coming along. After yesterday's full run-through with the orchestra the cast (or at least this part of the cast) is anticipating a smooth conclusion to the rehearsal process. There were gaffs and things that had to be restarted, but considering that we were putting all the pieces together for the first time it was an enjoyable day in the theater. From this point on things should run smoother and the flow should become more even and faster paced, as the cast and crew work on all the things necessary to create a seamless running show.

April 2, 2002
I wanted to write about trust in this edition. Trusting in the knowledge that the person you are dealing with on stage is ready to deal back to you. We spend time learning our scripts and learning our blocking. When performance starts we trust that we remember and actually perform all the movements we rehearsed. If one of the cast misses a line or movement, no big deal. The human error will be picked up. However, if one of the cast thinks that it is better to change a movement or line just because they think they know better... well that causes all sorts of problems. We expect the other actors to perform and say certain things. If they change on their own then we don't know what to expect next. With that, the entire structure of the play begins to rock back and forth, unstable on the stage because the performers don't know what to expect from the rogue actor. We haven't experienced that problem on this production. We have an amazing amount of professionalism in this cast and crew. We have done our jobs by the book. So there is no need to talk about trust since we have it on stage.

March 28, 2002
Have you seen the show yet? You may not have time if you don't act soon. I hear the tickets are selling fast. If you do get to see it you will see me reading the newspaper and talking with several actors. What am i reading and what am i saying? Well, when I first read the paper I really read the paper. It was mildly interesting reading news from 1766. It is a recreated news print from that time. I did find that if i concentrated on reading I would miss a cue so now i pretend to read. When i first started talking with my fellow actors on stage I really made up discussions that were specific to the show. i.e. I would talk with Rutledge about voting against independence. Now, three weeks, into the show We talk about our day and what we feel like. Hopefully, we appear to the audience to be in heated discussion. come and see the show... if you can buy a ticket.

March 25, 2002
Half way through the run of the show and still it is good! Most of our mainstage shows have 10-12 performances for the run. About half way through the show gets, if not boring, repititious. Every night to the theater to say the same lines and deal with the same people of the night before. At least for me, part of the fun of theater is finding the new and challenging in a play piece. However, when the show is in performance it isn't appropriate to change things. As i have said again and again, the same show for every audience. This show is an exception though. Each night, without changing the basic show I find little nuances that weren't there the night before. I, also, see other performers doing subtle things to enhance their performance. All in all, My interest continues and my desire to stay in this show is unabashed. To think we are only halfway through the run and it is still good!

March 18, 2002
It is called " the willing suspension of disbelief". You find it in live theater when the audience chooses to believe that a set and actors convince an audience, for a while, that they are not in a theater but somewhere else. This doesn't happen as easily in movies and Television because the presentation values can take an audience to the location. Not so theater. When you look at our set for 1776 you will see windows and doors. There are no walls! The audience ignores that issue in favor of the play. We change lighting presentations and the audience is transported, by their belief in the story and characters, outside or across hundreds of miles. This is not a audience specific thing either. The actors, also, change. They become the character they portray and actually see walls and whatever. when i perform and become my character i do not have a audience watching. There is no fourth wall that is missing, replaced by interested individuals. I am that character going through the struggle presented me by the author. The closer I become to my character, the easier it is for the audience to believe they are peeking into some other's life. I willingly suspend my life to play. The audience willingly suspends their lives to watch the play. Together we call it the "willing suspension of disbelief".

March 15, 2002
It is hard hard work! So many things to co-ordinate in the 8-10 weeks we have to rehearse. The lights, sound, acting, set, orchestra all must come together and work as one to make a performance enjoyable. During this process, I can, and do, think that I will never get there in time. That I just can't memorize the lines well enough or I miss the steps in my dance or whatever. As we approach Dress Rehearsal, I apply more pressure to myself to get it done and, of course, this makes it all the more difficult to accomplish what i feel i must to make an enjoyable performance.
Last night was Dress Rehearsal. As usual, I had nothing to fear these last 8 weeks. Though far from perfect, the entire performance was wonderful. All the other actors came with great performances and I did a commendable job. I got all my lines and sang my song well. I even knew the steps the steps to the dance! I want the audience to enjoy the show. So i think I must be perfect and so work at that perfection. I know from 15+ years in this avocation that I will get there and the audience will be pleased yet I go through the same turmoil every show I'm in. The self doubt. the worry over something that always comes together. It is hard work but worth every second of it! Come see the show and tell me if you agree with the effort we put in.

March 14, 2002
Things change in live theater and i must deal with it. The past couple of nights I have had a had time of it. I am not confident in my performance and when some one doesn't more where I expect them or the music doesn't come in when I expect it I think it is me at fault(never really fault just lapse) and I get nervous. This nervousness translates into fear and then I forget my line or where I am supposed to be, etc. Good thing it is rehearsal. That is what rehearsals are for anyway. We work on finding things to do, places to go, and how to keep away from the other actors as they more about stage. Tonight is Dress Rehearsal, the night to put it all together. The energy goes up a notch and the fear, while still there, has to be put aside. Theater begins! And it will change and I will deal with it.

March 8, 2002
Last night Mr. Dickinson arrived at the playhouse. I have worked for these past 7 weeks on memorizing lines and songs and dancing. Making my body walk to a place on stage with a purpose that does not resemble Don Kuehlhorn but Mr. John Dickinson. This is difficult because I am much more comfortable with Don Kuehlhorn's peculiarities then with the ones i am making up for Mr. Dickinson. Well, last night our esteemed Director demanded we speed up the show. That means say the lines faster and walk faster. The minute I couldn't take the time to remember my line I became John Dickinson. I stopped thinking and started doing. Like riding a bicycle, if you think about all the things you need to do to ride you will fall to the ground. If you get on the bike and ride it takes care of itself! To be sure, Mr. Dickinson is but a shadow of who he will be but he arrived last night.

March 7, 2002
I read all the journal entries and apply minimal editing to them. Yesterday, I read Brian's with some humor since I have had days like he describes. Then last night I found myself rereading his entry in my head as I muffed line after line. I have focused my rehearsals on my song and dance number. When I say mine, I really mean the team dance performed by the "Cool Men". (Come see the play for a complete understanding.) We "Cool" men work every night early on timing and words for this number. I have worked so hard on the dance that i neglected my review of lines. Even though I know them, during performance (and the rehearsals now should be performance) the speed and emotion needed to deliver lines gets in the way if one is not perfect on the lines. I have fallen off perfection! Now i must begin the balancing act of rehearsing "Cool Men" and giving equal time to my lines. Gotta do it now since we are one week away from Dress! I wonder what Brian will write today that I will reread tonight?

March 4, 2002
Full run through we hardly stopped at all! Finally, after 6 weeks of french sceneing( where we rehearse small bits of the whole play so only the actors needed in a scene are rehearsing and the others aren't sitting in the auditorium doing nothing) we ran the whole play start to finish. We, even, had the orchestra in place and playing. We actors wanted to see how our part fit in with the rest of the play. However, the actors are not the only ones needing a full run through. The orchestra needed to hear how they relate to the play. When they play and what it means at one time or another. The stage crew needed to see what set pieces get moved on and off and who moves them. The lighting designer needed to see how the stage movement affects the lighting design. Everyone looked forward to this full run through, each for his or her own reasons. And we had our full run through and we hardly stopped at all!

thought i'd share the schedule as released by our esteemed director for the remaining rehearsal period:

2-26 6:30-7:45 Costume parade....those who can arrive at 6:30, please do. Arrive no later than 7:00. Go directly up to the costume room area and Nancy will give you your costume. Once you're dressed, come down to the auditorium and run lines until we start the parade. Needless to say, no eating in your costume.
2-27 full cast

3-3 2:15 orchestra & cast....full run through. We may need to take the time to rerun some scenes as full runs begin Tuesday, so bring money to contribute to pizza or subs. Bring beverages & snacks at the very least. Hard work demands refueling.

3-4 Sunday I'll indicate who needs to come to this rehearsal in the multi-purpose room.

3-5,6,7 6:45 call. At minimum wear costume shoes, sox and breeches.

3-10 Noon call: get into costume, make up, wig, etc, Warm up will be at 1:45 Run at 2:00 with orchestra

3-11 Dark: relax, do laundry, eat a real meal and review your lines!

3-12,13,14 6:00 call 7:30 warm up & strech out 8:00 run with orchestra begin sign in on call board

A parting thought by Stanislavsky, "Everything in the labor of art amounts to one thing: the difficult should become customary, the customary easy and the easy-beautiful."

Whew!! The pressure mounts as do the nerves of all. The Ides of March will be here too soon!

When I was a kid I used to open the white bag of wonder bread, take out several pieces, tear out the white middle part, squish the white stuff together to make a hard ball and chew on that stuff like a bite of chaw. Sometimes I would bite off too much and as I swallowed I'd feel a big lump slowly pass down my throat until, I swear, I could feel it plop into my stomach. It hurt but felt so good when it stopped. That is how I feel sometimes with scripts. Some scripts I can memorize in an instant and some take a long time and lots of effort. My current script is just like that lump. I can feel in blocking my head. Naturally, the more I think about the script and how difficult it is to memorize then the pressure is on for me to memorize it and the lump only gets bigger. And, of course, the director expects all of us to be off book, asap and the guy playing Mr. Adams is off book so now the lump is really big. Well, I could say "is" but as of last night "was" now defines the situation. Last night I happily got through 90% of my song and book without aid of paper. The lump plopped out just like the white bread. To be sure, I have much polishing to do but the book now remains back stage and my confidence increases daily. I am happy and feel the need of a sandwich. White bread anyone?

The director asked me how it was going this week. I replied that it was going fine. I asked her how it was going with her and she said it was fine as well. The reality is that we have 4 weeks to go and we want 6 weeks more. As always, we never have enough time. Now, at 4 weeks out we feel the need to run the play. Just to find the continuity of the whole piece. Of course, we have the orchestra starting now so we can't run because some people must get comfortable with the orchestra. And we have to perfect the dances which require huge amounts of practice since we are not, repeat not , dancers. We will find the time to run and we will get the whole made from the parts. It just is never enough time. But don't ask us how it is going. The answer is always "fine".

I just finished watching the movie "1776". This may be my fifth or sixth viewing. Each time I view it I learn more about the play and the characters. This, of course, is both good and bad. A play is made up of many different elements all fitted together like some sort of a long string-like puzzle. The director must sort out the actors matching the talents of one with the other and placing them on stage to best present a picture for the audience. The director is the only person with the authority to make this puzzle. Actors are merely the pieces of the puzzle. The actors may add their own feelings and stylings but always within the framework set for them by the director. As I watched the movie, I saw things that the movie director did and saw what the actor portraying my character did. I will bring these ideas to my rehearsals and see which ones my director likes for her stage puzzle. The good news is I have some things I can work on. The bad news is I have to work harder to match, as best I can, the work I saw in the movie. Perhaps, I should watch the movie again.

We had our first dance instruction last night with the Dance Captain. She told us that she has chosen very easy steps for us. We are laughed nervously. She explained some of the nomenclature of dance. We all laughed nervously. We put 9 men in a room to learn to dance and had an attractive lady teaching us and we became 9 men laughing nervously. Then the hard part began. She taught us the first sequence. We followed , as best we could. We all laughed nervously. We were taught the second sequence then added in the first sequence. We weren't laughing. We got to the third sequence, put it in place right behind the other two and danced to the music. We were getting it. We weren't laughing nervously. It finally hit home that she did make the steps simple. We could dance them. And we wouldn't look like fools. For sure we need to practice and practice and practice but this will work. We must trust in the system, director, vocal coach, dance captain and so forth. 'Course a little laughing nervously makes it a lot easier at the start.

I rehearse to memorize patterns that I present in a nature fashion in performance. By reading the script over and over I memorize the script. By walking through the stage action over and over I memorize where I have to be on stage at any given moment during the play. It is a process. In the beginning of the rehearsal process I have many things to co-ordinate. The script. The stage movement. The music. The character development. Each item takes some part of my attention until it is memorized. Walking on stage with a script in hand diminishes the attention I can give to character development and stage presence. It follows then, to get off script (book) as soon as possible. The book is about the only thing that can be worked on away from rehearsal. I need the director to tell me how my character appears on stage and where I should move on stage and so forth. The script I can read anytime and place. I can give you any number of excuses why I am too busy to read my script anywhere but rehearsal. It's a gift I have. Science calls it procrastination. As soon as I get off book, the rest of the process is a piece of cake. So Why don't I get off book? I can give you any number of reasons. Until now of course. The Lead in our play is very close to off book and this is the first week of rehearsal! Need I tell you that I have no excuses now? I have to get off book just to save face. I just needed a pat on the bumm to motivate me. Next week. No book!

This is an interesting play in that it is based on historical fact. Therefore the characters in the play are real and I can go on the web or to the library and read about the individuals. My character, Dickinson, was very involved in the colonies at the time but wanted them to remain part of Great Britain. He fought hard against Adams to keep the colonies from becoming independent. When I prepare for a play I watch movies or other productions of the play if available. I cannot research the character since it is a figment of the author's mind. This play offers a real person to portray. To be sure, some literary license has taken place to put the play on stage but the essential facts are true. The challenge is to bring reality and fiction together and make in believable. An interesting challenge if ever there was one.

We had out first full cast read-through last night. Most, if not all plays, have a read through as the first rehearsal. Along with reading the play, sometimes, the first time for some of the actors, we, also, get to meet each other, sometimes for the first time as well. We hear what the play should sound like. And we talk about some of the scenes and staging thoughts of the director and , generally, get the business of theater production out of the way. In a read through we hear what each actor has done in preparation. We may hear people reading the play for the first time (it happens more then you may think). When you hear this you think about the work you put in to audition for the play and this person still hasn't read his/her part and has been cast! Well, last night we read. Last night we sang! Last night we didn't have a pianist so we sang acapella. Last night we heard a play worthy of production! This cast has worked on its own! When you start at zero you grow as large as the talent of your weakest actor. From the sound of our rehearsal last night, we are starting at 3 out of 10. The talent demonstrated last night should easily reach the 11 mark by opening night. Hang on for more good news. this will be some fun process!

Auditions are over and the process of rehearsal begins. For me, the most difficult part of the theater process is auditions. I read the play and decide which role i want. Then I practice as best i can. In this case i purchased a CD of the play and played it over and over. I sang along with the CD so much so that i had most of the songs memorized along with the part i selected. Then came the audition. I have 15 years of theater experience under my worn soles and yet to stand in front of other auditionees and the auditioners still quickens my pulse and sets my adrenalin flowing. To my surprise, the song i chose was different on the CD then in the printed version. (not a real surprise, i have been here before). So when i stood to center stage to sing, what i knew to be wrong, i sang terrible. To be sure it was only a couple of notes but enough to send me over the edge and not present the brilliance i knew was in me. Still, even with the incredibly bad audition, i got a part. Not the one i practiced for but one interesting enough to keep me going. The worst is over and the rehearsals begin.

1-13
Auditions were stunning. I was jubilant with the turn out. Then Joe, with Paulette & Susan's assistance, warmed the group up and as they moved into the final chords the sound was astounding, sending shivers up my spine. Here I know that I made the right choice of plays to direct.

There were so many auditionees on Monday that I didn't feel I would be able to hear them all read. And then Tuesday even more new faces. A wealth of talent and energy, both new & familiar. Every director's dream. Musical auditions are so much more difficult than straight plays. The input of so many people is necessary...vocal, conductor, movement, plus the requirement of the script. I want their input, need it, but it gives me a sense of not being in control. And that I like being in control is one things I know about myself.

The new venue for auditions, Milliken auditorium, was fantastic. Great acoustics &comfortable, but it is a huge space and I was intimidated as I'm sure were the actors & actresses. But that didn't deter anyone. Even those who consider themselves non-singers rose to the occasion with a rendition of happy birthday or the like. With so many auditioning and such a fragmented script, it was difficult to hear many at one time. Everyone was amazingly patient. I felt overwhelmed and not up to the task of matching talent to role at the end of Monday night. We finally finished auditions about 9:45 and I headed home, planning on a bit of zoning to let my mind's little computer work on automatic. As I was crawling into bed, data started zinging through that same computer and off I went to the actual computer to synthesize & organize. As I sorted I discovered who I wanted to hear read for what parts and sent emails to each, telling them what I was looking for upon their return to auditions. Love that email.

With the number of new folks & returning folks with directions I'd given on Tuesday I felt challenged....overwhelmed. Determining what scenes would best show off what I was looking for was tough to begin with but then the director's script & actors' scripts were not numbered the same. Hello! What were they thinking. I think they were thinking let's make the director look like a bumbling idiot. After patience on the part of the actors and a great deal of help from Kerry, we muddled through.

At this point I still wasn't clear on the leads. Finding good Franklin scenes were particularly challenging for Phil, Mike, Wiz et al. None of them were superlative but Phil seemed to edge them out with his genial interpretation. Certainly BD has the ability vocally & acting wise for JA, but can he pull it back enough so that he saves the build in the show? Can I pass DK off as a lanky JA? What about BN? The man can sing. The TJ role is also between JR & MH at this point. MH is pretty mild mannered and both can easily be used elsewhere in the show. Another difficult choice is AL. He is building the set & I feel like he should have a role but then I know Al and know that his integrity will respect my decision for the good of the whole show. My good friend NW is also auditioning I would love to work with her on stage again. We've done an AMO play recently but she has a lovely voice and exquisite confidence & polish on stage. I know all of these folks, my friends, are anxious to play their favored roles. My job is to determine if their favorite role is the best balance for the ensemble. Tom will help me decide this tomorrow.

Because I'd screwed up when we moved the audition dates, Tom Stokes (vocals) had previous commitments and couldn't attend the first two nights of auditions. So we took the normal call back slot for vocal auditions. I had not imagined needing a call back night but am glad it was available. I haven't used a call back night in some time, although it has been 6 years since I last directed a musical, Fiddler. I really needed it here to sort through some of the sticky choices.

Tom is a phenomenon. With a few friendly directions he has the group singing, even those alleged non-singers. We hear solos of "my country 'tis of thee" in record time with each singer feeling prepared and comfortable. In no time he can report to me who can sing which parts and his recommendations. Joe has been there every night of auditioning giving me feedback but we both defer to Tom's vocal expertise.

The singing auditions helped sort out parts, along with a few more readings. By the end of the evening, not only I, but most of the folks in the hall were fairly clear, I think, about who would be cast. Naturally there would be some surprises and disappointments, but it couldn't come as too much of a surprise. Competition can be cruel but the quality of the result is clearly demonstrated. The production staff, Maureen, Kerry, Tracey, Nancy & Deb helped Tom, Joe & myself get the cast recorded & posted in record time. We divided up both those cast & who were not cast to receive a phone call. Everyone did an admirable job. There were quite a few who I wanted to cast but couldn't.

Having just spent almost three hours working on a detail schedule to accommodate vocal, orchestra, acting, tech, actor and venue conflict, I'm ready to start on the truly fun part of blocking.

Al & I had a great meeting prior to auditions about set design & construction. Since neither of us is expert on the details & nuances of blueprint, we're sketching, talking, looking & pointing. We've good a workable floor plan and Al is confident. I've asked cast members to spend time helping with construction especially as OTP has far more male construction geniuses than female. We need them all! Our production meeting this Wed will be devoted to set & lights.

"Were it offered to my choice, I should have no objection to a repetition of the same life from its beginning, only asking the advantages authors have in a second edition, to correct some faults of the first. So I might, besides correcting the faults, change some sinister accidents and events of it for others more favorable. But though this were denied, I should still accept the offer. Since such a repetition is not to be expected, the next thing most like living one's life over again seems to be a recollection of that life, and to make that recollection as durable as possible by putting it down in writing.

In the coming weeks, I shall indulge the inclination so natural in old men, to be talking of themselves and their own past actions. Perhaps I shall a good deal gratify my own vanity. Most people dislike vanity in others, whatever share they have of it themselves; but I give it fair quarter wherever I meet with it, being persuaded that it is often productive of good to the possessor, and to others that are within his sphere of action; and therefore, in many cases, it would not be altogether absurd if a man were to thank God for his vanity, among the other comforts of life.

I say, if you would not be forgotten, as soon as you are dead and rotten, either write things worth reading, or do things worth the writing.

One thing I would admonish: Be temperate in wine, in eating, girls, and cloth, or the Gout will seize you and plague you both. I should know, for I was intemperate in my life more than many a man I know. The result being the Gout has been my scourge."

Tech Sunday is on it's way. This is a full day of running the show with all the scene changes, lights and sound and orchestra all coming together magically. I have spent a good portion of my free time today rewriting my "what happens between/during scenes backstage papers". I've redone it 3 times now, changing order, adding things I missed, writing down who I think will be in the right position to do something that needs to be done. I want to have several copies to distribute Sunday to the ASM and cast members who will be doing the scene changes. That way ALL of us will have copies to write on when things change on Sunday!

I’ve worked on quite a few plays at the OTP, but have never done a journal entry before. After all, what can I say that anyone would really want to read? So I’ve decided to keep everyone posted on my learning to be a really good Stage Manager. I took this evening’s rehearsal off and stayed home to read.

I’m reading Lawrence Stern’s Stage Management; A Guidebook of Practical Techniques (referred to in future journal entries as the BOOK).I’ve made it through Chapters I and II so far tonight. In summary, good stage managers:

accept responsibility, keep their cool, keep their mouth shut, eyes, ears open, think ahead, are considerate, keep their sense of humor, are organized and efficient, are punctual and dependable.