Both showcases in Glasgow and the one in London went very well. It was nice to end on a high note! Then I got the pleasure of some quality friend time in the city for my birthday weekend and a little jaunt to Kent to ease me back into Glasgow living. The rest of my year (since my last blog post) went by so fast that I haven't really had time to process or reflect on it until now.
After our long break following Edward II and the New York Showcase, we had a month of random workshops lasting 1-3 days each. We had a nice few days with anti-realism and Ewan Downie and several one-day sessions with various members of the artistic community including Candice from Vox Motus, Carter Ferguson, Nick Bone, story writing with Visible Fictions AD Dougie Irvine, and a lovely clown/Feldenkrais workshop with Tim Licata.
Many of us in the cohort were involved in a new works festival called On The Verge held at the Arches, which unfortunately was one of the last things held there before in was shut down. Such a shame.
Cam and I performed an original silent film-style pie-in-the-face sketch at the grand reopening of the stage at the world famous Britannia Panopticon, the oldest surviving music hall where Stan Laurel got his start.
In June and July I had the pleasure of being part of a promenade production of Love's Labour's Lost at Bard in the Botanics. I played Constable Dull and got to escort the audience around the various locations around the gardens as well as play my bugle onstage again! I considered this my placement for the program and It has defintiely been a highlight of the year.
August basically didn't even register. After bits and pieces of workshops we finally rehearsed and performed our new writing produtions. I feel extremely lucky to have had Alan McKendrick as my playwright. I just love his style and the unique poetry of his writing. Ohh Graveyard, You Can't Hold Me Always had it's ups and downs, but mostly just ups. I got to really showcase some of my bread and butter acting styles. The vignette style piece gave way to a lot of playing and we all had ample room to stretch our avante-garde wings, as it were. Along with Dull at Bard and now Ray the cop/probation officer and Dudley the loss provention officer, I have finally started playing cops. I have a feeling that this will be a recurring theme over the bulk of my career. ;-)
The second half of August was full of Edinburgh Fringe. Cam and I took part five days in two weeks and saw about 5/6 shows each day. SO MUCH THEATRE!!!! We saw a several things at the Traverse including An Oak Tree and Swallow. Most of what we saw was at the Assembly or Cowgate venues. We saw the amazing Superbolt group do Jurassic Park, an amazing Dublin company do a one-man show called Underneath about the soul of a mamed young girl, a dou of Shakespeare improver's, a play version of Trainspotting, a live blog with Steven Tobolowsky, an beautiful and intimate two hander called One Day When We Were Young, One-Man Hamlet Gary Busey (Quite-possibly the worst yet watchable show at the fringe, Vox Motus's Dragon, Shit-Faced Shakspeare does Merchant of Venice (I got to blow the bugle for him to drink), Robert Lepage's 887, the palpable Transcripts, Hotel Paradiso, sock puppet theatre, and a show called Fictions which happened in complete darkness.
The last week was spent on showcase rehearsals. What a whirlwind. Special thanks to my two scene partners, Sophie Kisilevsky and Kristin Morris, who were amazing and I can't imagine having done better scenes with better actresses. Amazing work.
That brings us to today. I have a cold and am waiting to go to a talk with the legendary Mike Alfreds at the CCA. After that, it's a month or so until graduation. I have a couple of prospects, maybe some directing. We'll see what trips my fancy...