Public Theatre's "Around the World in 80 Days"

For a month and a half I created, edited, and constantly re-edited a sound design for The Public Theatre's (in Lewiston) production of "Around the World in 80 Days". The show required canned music (my job) and live sound effects to be performed by a Foley artist (partially my job). The ASM performed the sound effects for most productions, but last week I was able to run effects for 2 shows. This involved following the script with props in hand or tap shoe ready-- cues marked after lines. I made train sounds, whistles, bells, and a few animal and native sounds with my voice. It was a chance to perform and yet not be stuck memorizing lines and blocking (movement on stage). It was what I normally do-- but the musical instruments were sound props.

The actors were sensational-- all from New York (or mostly), and making their living doing just this. The resumes alone were impressive and humbling-- these are motivated individuals that want something and work very hard to achieve it. Most of these actors were multiple characters and one was at least 8-- all different accents, motion, and facial features and dress-- all done in a flash. I am happy to have been involved with such great masters.

Thank you!

The Lion in Winter at the Chocolate Church in Bath

For the past two weekends I had the privilege to play lute for a production of The Lion in Winter done by Bath Studio Theatre. It was presented at the Chocolate Church-- a somewhat decaying structure in downtown Bath with a rich history of performers and productions. Bath is a nice town/city near the ocean-- home of the ship building site Bath Iron Works-- also home of a ballet studio I frequented for years: David Church's School of Classical Ballet (directly and ironically across the street from the ship builders).

Ironically, which it seems everything is nowadays, Natalie MacMaster was my favorite fiddle player and performer in my early 20's. We share a sign finally!

In case no one looked at the lighted sign, a homemade one was up written in ye olde English hand.

The show was well acted, it was rewarding for me to play music that was dear to my heart (early music), and I got to finally play my lute which arrived the 2nd weekend. The 1st weekend was played on a Neapolitan mandolin-- cousin to the lute but limited in range. I played pieces by Mudarra, Dowland, Milan, Cutting, and Vivaldi-- I know, not medieval-- but in researching, few medieval pieces exist, let alone playing single lines of Gregorian chant (which I did for a bit).

I made new friends and I hope to meet up and work with this group again soon.
Thank You!

I walk into...Basilica of Saints Peter and Paul

I never set foot into what I deemed the largest and most gorgeous church cathedral I had ever seen until last weekend. I had pictures of it from the outside and I took a peek downstairs once (nothing spectacular), but never could I get any of the over-sized doors open...until last weekend.
An organ concert was happening at a convenient time. I thought I might go-- the music would be alright but I just wanted admittance to so masterful of a building. I also knew that I wanted to secure a concert there at some point (even a practice session with natural reverb).
So I walked into a European scene:

It was tempting to toss a few droplets of holy water on my face-- certainly that water WAS holy.

I didn't feel the organ music was suited for such a resonant building. The music would end with incredible delay and after effect-- and that would feed into more polyphonic lines when played. But, I knew what instrument would suit this place-- it would suit all of Catholicism in its right!
I met with the curator/organist after and got the tour. A secret room was shown behind the pulpit and I found the place that I need to prepare for. This place will not be easily earned-- but I intend to!

Norlands-- Tribute to Nancy Drinkwine

When I did the Norlands Civil War event I was asked at the end if I would join them for a fall festival with pie-- I of course agreed and put it on the back burner. I starting receiving emails 2 weeks out and wrote to Nancy Drinkwine (the coordinator) what I was thinking about doing. She was supportive and excited, although I was less so having lost 3 duet partners in a row. I was finally able to get EOS frontman Mike French to commit to the event.
I received an email 4 days prior from Nancy confirming the event and asking what kind of pie I liked. I believe I emailed her back. She passed away 2 days later from a heart attack. I felt bad but I knew I had to still play-but I wanted to do a eulogy for her.

I prepared a fiddle tune called "Nancy's Waltz" for her. I made a small speech prior and it seemed very few people knew of what happened. The event was poorly attended. The pie was delicious. I hope I can still play music for Norlands now that the position has been passed down.

RIP Nancy Drinkwine, you made everyone happy and "glued" all of Norlands together!