This week has been full of business -- the all-important capitalization of the limited partnership that fuels the big green pope machine. And most of THAT we're really not a liberty to share.
But to keep you amused -- and to divert you to a related site this week that you'll want to explore -- check out Michael Butler's ORLOK home page. The "Michael Butler Diaries" have begun to tell his unique and dramatic story in our producer's own words. Every week, this writer's jaw drops at both his style (Is our producer going to write his own book before this is all over? He is, if this writer has a vote!) and the priceless stories we're privileged to share. Keep going, Michael!
The best kind of good news always comes as a happy surprise.
This week, the Joseph Jefferson Award Committee (Chicago's union theatre Tonys) nominated the repertory production of POPE JOAN in four categories:
The Jeff Awards are November 6th, and we're just going to put the "who'll win?" angst out of our minds (for now). For the present, just being nominated IS award and vindication enough for a great deal of hard work so far.
Our visionary producer, Michael Butler, just smiles. He knew it all the time.
C'est formidable! This week -- otherwise chock-full of all the legal documents that create the infrastructure of what we're going to do for the next few years -- included the happy acquisition of the French-language rights for POPE JOAN by JMC Productions, Inc. of Montreal (Quebec), Canada.
Our playwright is especially pleased since French is one of the languages he speaks and writes (Japanese is the other). Supervising the first non-English translation of the play (to Jeanne La Papesse) will be a joy.
This week, we're happy that Michael Butler, our producer, decided to take up the challenge of articulating his thoughts on casting stars in new plays. Don't miss his fascinating essay on the topic, based on his experience of casting his own shows through the years. And be sure not to miss the exciting piece where he shares his own personal introduction to the wonderful world of theatre. Both are our proudest additions to the site this week.
Speaking of casting -- we're thrilled to report that we've received verbal acceptances from all but one actor who has been offered Pope Joan contracts for the February opening. (Linda Schaefer, who was an ensemble member of the not-for-profit production, will continue with the company as our Fight Choreographer, but she's taken a larger acting role in another Chicago play this fall.)
In particular, we're delighted that the part Michael Butler has labeled the "woman's role of a lifetime" -- Joan -- will be played by Chicago actress/singer Elizabeth Laidlaw. Elizabeth is the charismatic, strikingly gorgeous, awesome alto who took over the part at Bailiwick when Kate Fry left the first production in May. (Aspiring actresses take note: this time it wasn't the original player who got the proverbial gold ring -- it was her replacement. Never underestimate the wisdom of taking a great role WHENEVER it's offered to you!)
Now, the great casting quest is on in earnest for the perfect Louis. We're seeing several candidates from in and out of town in the next couple of weeks, and we'll keep you posted here. It's definitely the plum open role at the moment. (Any devastatingly handsome, dangerous, charismatic killer baritones out there with the experience to take on a leading role in Chicago in February? Make sure we've heard from you or your agent.)
Today, our playwright -- Mr. Sine Qua Non himself -- will celebrate his birthday quietly with some close friends. Happy birthday, Christopher! It's going to be quite a year.
*Webmaster's note*
It also happens to be the Birthday of Production Coordinator Susan Lersch. Happy Birthday! We all wish you a wounderful coming year as well!
Whew! I'm pleased to report the reading of the rewrite was a smashing success! The book really works, and -- at least as far as we can tell before it's restaged -- any and all issues that troubled the audience in the last version have been resolved beautifully. (When a jaded bunch of actors gets misty-eyed at the end, you know you've got a winner.) You might enjoy reading Christopher Moore's essay, Rewriting Pope Joan where he talks about just what he did, why he did it, and how. Someday when he retires from playwriting, Chris should make a terrific teacher, don't you think?
Producer Michael Butler announced, at the reading of the book last Monday, that he was offering contracts to the actors there that evening -- most of the cast of the original production. (He's often expressed his conviction that a strong show doesn't NEED stars -- it makes stars of those actors who perform in it. Maybe we'll convince him to write an essay on the subject in the next few weeks!) Those actors chosen will indicate their commitments to us by the next time I write. For now, we're happy to report that principal actors Matt McDonald (the original Nicholas), Ron Sherry (the original Lucius), Mary Beidler (the original Martine), and Cecily Strong (the original young Joan, who'll also be playing Joan's Daughter in the next production) have already accepted our offers.
One additional cool musical change: our musical director, Gino De Luca, (yes, he was billed as "Gene De Luca" in previous writing; he's changed his professional name to "Gino") has added a ninth piece to our orchestra -- a harp will complete the acoustic sound we're aiming for in the re-orchestration.
Kind of like our news -- FINALLY! On February 8, 1996 -- official press opening -- at the Chicago Center for the Performing Arts, a wondrous new space that -- with the Lady's favor -- will be built well before then, POPE JOAN will begin its commercial run.
And after tonight's reading of Christopher Moore's new book for the show, all the actors and designers will know what you read here. Even the press doesn't have the scoop yet.
And next week I'll let you know how the reading went. And more detail on the upcoming opening. For today, it's too darn hot -- at least in Chicago.
Hey, be glad that your faithful composer, Mr. Moore, didn't write one about Transubstantiation. One major mystery per musical -- that's his rule.
However, this week he made another major musical switch. The second-act, aria, "With Fire," which Nicholas (brilliantly played by Matt MacDonald in the Bailiwick production) sang (and nobody "got") is out. Instead, Christopher has written a glorious first-act hymn of praise for him that clues us in to what he's about much sooner. We're going to try it out at the reading on August 14th to see how it works.
And yeah, yeah, yeah, we're still working on venue. Thursday, we're meeting as a company to decide When. And Where. And With Whom. And all the facts of our short-term life. Send us a light so all may be clear.
Gee, I wish I knew where we were doing Pope Joan. Our colleagues at the proposed new theatre space are supposedly getting back with a proposed construction schedule today. And in a couple of days, we're walking through an alternative space in the city with its technical director, who will speak tech to our technical director.
The most interesting news is that the playwright's rewritten the ending of the show again. We're very excited about seeing it -- and the rest of the rewrites -- at the reading of the new script on August 14th.
When God closes a door, She always opens another. Or at least points the way to a reasonably accessible window. So we pray this week.
The deal we've been working on for months appears to be aborting as I write. The theatre design and construction schedule just won't cut it. And we have about a week's window to make another one -- the old domino effect of space affects design affects d ates affects marketing. Our investors are committed to a fall production.
It's yin and yang, folks. Good news on the music front. Frustrating news on the theatre space issue.
The playwright and producer met this week with an experienced music producer to discuss recording the score. Among the fruits of this productive meeting: the playwright (who's also the composer) and the musical director/arranger, Gene De Luca, are beginning to re-work the expanded score to rely on period sound underlying its instrumentation. A search for the perfect 12-string/lute/mandolin player who wants to sit in an orchestra pit for several months is afoot, of course.
We're all sitting tight on the new theatre space deal. The architectural plans are getting hung up in city approvals (this is Chicago, dear readers!) so we're worried that our start date won't be possible. Everybody's cooling their heels this week, praying the bureaucrats will unclog the works and we can proceed as we wish.
Sorry for your author's (Production Coordinator Susan Lersch) silence last week. Thanks, I feel better now. God bless acupuncture and Illinois acupuncturists.
We're back to the new production space deal with a happy vengeance, and it looks like it's going to happen. The builder has decided to add some modifications to the performance space (an orchestra pit for the eight musicians in the new score) and some badly needed wing space. The playwright and the producer are convinced that construction can happen in the timeframe we need-- load-in no later than mid-October! Think good thoughts for us. As I write, the deal is being put together.
Negotiations are still underway for a venue for the next Chicago production. At this point, seven commercial houses are under consideration, each with markedly different physical configurations. Since we're trying to design the next set to be capable of going with the local touring company intact, the layout of the next theatre is critical. Check back with us next week and see if we've been able to make a deal.
On the script development front, playwright Christopher Moore has finished his first pass at the rewrite of the book of the show. In the next few weeks, many of the original actors will be gathered for an informal reading of the rewritten script. When the words are spoken aloud, Moore will be able to better judge how effective his last month's work has been!
The auspicious opening night date for POPE JOAN has been chosen by the company astrologer, Laurie Brady: October 26, 1995. (Our other good energy date -- August 5th -- would have been FAR too soon!) Negotiations are underway for the possibility of a brand-new, very high-profile venue for the next Chicago production. Send us good vibes ln our deal-making and watch for the news next week regarding the results.
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