We begin, we end

I get the feeling that it has been a while since most people have looked at this blog, but I thought it would be a good place to say thank you to everyone who was involved in this show. (Maybe you're looking at it some years after the fact, with a little nostalgic tear in your eye.) Kieran, Gedney, Actors, Designers, Crew... every one of you astounds me with your dedication and creativity. I am honored to have been a part of your work. I've realized that I would rather spend hours more in the 92 working with you all than anything else that I should be doing. This much just wasn't enough.
Thank you all for giving me an endlessly meaningful experience.
Emma

Toys

This one is for designers:

When will it be possible for us (actors) to start rehearsing with our full set of costumes/props? There are several places where we've been miming or glossing over bits with objects we've never seen, let alone used (ie the padlock). Is it possible that we can get a hold of the things that are ready? The kid in me wants to play with toys.
~Sean

Music the Magical Fruit?

That's not right...but you know what is? Sheet music! For the actors and actresses in the play I found this wonderful Latter Day Saints (Mormons!) that has not only the sheet music but also a playable sing along. So those who want to get a head start and earn some Paul points (non-redeemable) check this out before we start learning the song for keeps.

Mormons!

Hopefully that link works inform me if it doesn't. Also for those curious about other musical aspects of the show I just purchased this, this color may not be appreciated by the audience so somethings will be done to resolve the sky blue sky quality of the case.

Library of Congress <3 Flickr?

I found out that Flickr and Library of Congress have teamed up to release photos from the LOC vaults. One of the first collection sets up is of B&W of the 1910s and another of the Great Depression. I know Summerland takes place right smack dab in between but I thought these photos would be a good source for how people looked back then (most of them looked bad ass).

1930s-1940s
1910

Weight Sharing and Contact Improv

This is way cool, let's do it!:

http://www.youtube.com/watch?v=vpFeeAN3gK0&NR=1

http://www.youtube.com/watch?v=sBU9Oernv50

http://www.youtube.com/watch?v=sBU9Oernv50

My friend actually does a lot of this kind of dancing and helped me with an audition where I had to do something like this so I can ask her some more about it. But when she was helping me she said to have my whole body follow one part of my body.

Anyway thats all I got but check it out.

Emily

Chandelier

First of all, thank you Ian for your lovely vectorworks drawings.

I've searched high and low for the sockets we're going to need to build the chandelier, and have determined after calling every single electrical company in the state (I'm not even kidding here, I can give you the list if you want) that the only place to find them is online. It looks like they're only available in green or white. I think green would be awful, but black would be better than white, and it might be easier to turn the green ones black than the white ones.

As far as light bulbs, if we go with the CA8, which is the lamp Ian drew, the wattage options range from 15-40w. With 54 total lamps, even with 15w lamps, we have a total wattage of 810w, which I think will be plenty. The only possible merit I can see to a higher wattage is that they could spend the entire show running at a low intensity, which would (I think) make them a warmer color. We could also get amber-tinted "antique" lamps.

My worry is that even with the 15w lamps, we're going to be potentially overheating the sockets, since they're normally used with 7w christmas lights. I've sent an email to the manufacturer, because I can't find any information about the rating of the sockets online.

UPDATE: I've found something that will work, and they're even black. The only problem is that they cost $1.40 each, and we need 54 + spares.

more finalized costume designs

These are the designs I presented at the big department meeting.









Harry (with jacket in the beginning of the play, without it as the play progresses)



suspenders are made of rope,
wingtips on shoes are from persian rug.



Margery

newspaper turban, handcuff belt



Bess

(fabric of dress
matches fabric of curtain)









Arthur Conan Doyle

(persian rug vest)




Cecelia (below)





(Cecelia's hat made
of newspaper)


Kingsley Doyle




newspaper tie
persian rug shorts
combat boots to come??!




Mother (below)

with
rope
necklace Scientists (all 3 scientists just have the lab coats over their previous costume, but all wear white button down shirts and newspaper printed ties)

Sherlock Holmes


persian rug hat

Son
vest matches curtain

Text - Am I going in the right direction?

So. My mind has been turning its rusty and metaphorical gears in order to come up with some outside text. It has been a bit difficult, because the stuff I have found that might work well for my character might be unnecessary and also slow down the play. Plus, the play is about Houdini, not Margery; however, I gave it a shot. I have been looking for text in terms of both general themes of the play and in terms of my character specifically and what I believe drives her personality. What I have gathered from the text I have read about her was how active a person she was and yet how, when she married Crandon, she married a man of "high class" as opposed to her previous marriage, having to give up some of the activities she participated in. It was as if she had no outlet for the active, witty, and somewhat outlandish portion of her personality, and I imagine that this had a lot to do with her embracing spiritualism and what it brought her. Because it did allow her to concentrate on more universal things than, say, choosing a color for the parlor room rug. So with that in mind, I found this text, called 'Girl' by Jamaica Kincaid, that I transformed slightly. To me it is a bit of her reaction to the "new rules" of her life. Also it could almost mirror Houdini's rules of magic bit nicely. So here that is:

I tried to keep in mind the essential rules of conduct which my husband had carefully instilled in me: 1. Never speak to anyone unless you have been properly introduced (except in case of shipwreck). 2. You must never talk about God or your stomach. 3. Always eat your food in such a way that it won’t turn someone else’s stomach. 4. On Sundays try to walk like a lady and not like the slut you are so bent on becoming. 5. This is how you smile to someone you like completely. This is how you smile to someone you don’t like too much. This is how you smile to someone you don’t like at all. This is how you iron your husband’s khaki shirt so that it doesn’t have a crease; this is how you iron your husband’s khaki pants so that they don’t have a crease. This is how to sew on a button; this is how to make a buttonhole for the button you have just sewed on.

I also think that it would be interesting to try to include some quotes in the seances that I found in the research I did. They are pretty funny and might bring out the personalities of the characters. She would also speak in different languages sometimes or sing, which might add a different dynamic. I thought it was interesting that Walter called Mina "the kid" and dr. Crandon called her "psyche." So it might be cool to play with that a bit, to sort of establish relationships and the closeness of Walter and Mina.

Also direct quotes of Mina:

- “A very famous psychic researcher from Europe … came over to study the mediumship. He held many sittings. He was impressed by the independent voice of my deceased brother which always manifests itself in the séance room. He wasnted to be sure this was not my voice, so he held his hand over my mouth and nose. But the voice came through quite as plainly. ‘Now doctor,’ I said, ‘isn’t that convincing?’ And what do you suppose he said? ‘how do I know you don’t talk through your ears?’ So you see what amazing things people are willing to believe in order to avoid believing the things they don’t want to believe.” (25)

- Her friend said, ‘I’m sure they would not accuse you of knowing so much if they knew how really dumb you are.’ And mina replied, “I hope things are not quite that bad” (26)

- Walked up to Carrington, embraced him, and said, “wouldn’t you like to kiss me?” (59)

-“That’s all poppycock. My husband attends all my séances and I would have to be very rash to go around kissing” (113)

- When Crandon urged her to go into a trance: “I will do nothing of the sort” arguing, that she had such fun watching the proceedings, she didn’t want to miss anything” (21)

Okay so now that I have taken up the entire blog...
good night
..and .. good luck.
Emily

Anecdotes to Enrich our Experience

A photo of Houdini with his mother and wife.

So I have been looking for the most part at Houdini's family, Cecilia, his childhood, etc. Some/ most of this may not be new (or useful) information, but I'll post it anyway. I'm just going to give little "snippets" and not go into great detail. Hope that's all right. (Most of it comes from Houdini: The Untold Story by Milbourne Christopher. I think there may be another copy in the library, but I'd be happy to lend it to anyone.)

Houdini's father, Samuel Weiss, was a rabbi in Hungary. He was a widower before he met Cecilia. Funny story here (at least according to the sources). Apparently a young friend of his wanted to marry Cecilia and asked Samuel to plead his case to her because he was too shy. Samuel did so, "but as he spoke, [he] realized with dismay that he was speaking for himself." She, of course, knew it all along, and they got married. (Christopher neglected to mention whatever happened to that unfortunately shy friend.)

Ehrich (Houdini) was their third (surviving) son, and they continued to have three more children. They emigrated to America shortly after Ehrich was born. Cecilia claimed that Ehrich never cried as an infant, and she was concerned with how little he slept. I got the sense that he was her favorite (don't know how I got that), and that his father was pretty hard on him. When he was 12, Samuel made him promise to always look after Cecilia, which caused Ehrich to run away in order to find work. When he decided to pursue a career of magic, Samuel was very disappointed, but Cecilia always encouraged him. She was also supportive of his marriage to Bess, who was a Catholic.

One great quote I found from Bess was the following: "I'm the most married person I know. Three times- and to the same man." (She was referring to their civil ceremony and separate ceremonies before a priest and a rabbi.)

Another interesting anecdote is the story of the word "forgive," the message from Cecilia that came after Houdini's death, which is in our script on page 34. The reason why Harry "never stopped hoping to hear the word 'forgive' from his mother" was because of something that occurred between his brothers. The wife of Nathan, Houdini's eldest brother, had left him for the younger brother, Leopold. This scandal disrupted the "close-knit harmony" of the Weiss family. Houdini did not know whether to forgive Leopold or not, and before he could discuss it with his mother, she died. So, apparently Cecilia was finally telling Houdini that he should forgive Leopold, and that is why he wanted to hear that word from her.

One last thing: Cecilia kept a grandfather clock that she would only use when Houdini was gone, in order to count the time until he would return to her again.

One idea I had: if somehow somewhere in the script Cecilia could refer to Houdini as "Ehrich," it might emphasize how special and intimate their relationship was. I get the sense both from the script and from researching that his mother brought a different side out of Houdini. She presents a part of him that was not publicized, and I think that part of him makes him very intriguing, especially when juxtaposed with his almost militant attitude towards Margery and spiritualism. It could also be confusing or awkward, I don't know. Just a thought.

That's all from me for now... can't wait to see more of what everyone is working on! The designs look spectacular.

~Emma

MOUSTACHE

Sir Arthur Conan Doyle

You're not getting anything like that, I hope you know.   Unless I get a false one.   That'd be cool.

also, "Sherlock Holmes and the Empty House" may be a better title than "Greek Interpreter."   "Veiled Lodger" or "Dying Detective" may work also.   But there aren't really any good ones.

-Madison/Henry

Costumes:: idea sketches

Here are some of my rough ideas for some of the characters. I am meeting with Leslie tomorrow and we are going to discuss, but I welcome you all to give feedback too. Right now I am working with the newspaper accessories but I am contemplating changing to other "false" materials as well.

Walter

Margery

Harry

Here are some of my rough ideas for some of the characters. I am meeting with Leslie tomorrow and we are going to discuss, but I welcome you all to give feedback too. Right now I am working with the newspaper accessories but I am contemplating changing to other "false" materials as well.

Doyle

Cecelia

Bess

Costumes

Hey Silvie, I was thinking...

I wonder if the exclusive use of newspaper as the "unreal" element of the costumes might be expanded upon. I know that the choice of newspaper, among other things, echoes the papers used in the séance scene...my concern is that the audience will then understand that image to be the main motif of the whole show. Basically, I'm worried the choice of material might convey a theme that doesn't necessarily exist in the show. Now, the media certainly has a role in this story, but I don't think we want to make the show about the media is all.

So what about this: in addition to newspaper, incorporating other elements of the show into the costumes? Rugs, curtains, even other costume materials. Collaging all the elements around each character into their costume, you know? I think it could provide some room to play with texture and kitsch.

But, this might look a lot funkier and busier on stage than it does in my head. I'm just throwing it out there--what do you think? Others?

Best
-K

More pics

My, my!

How lovely to return to campus and be greeted by a collection of such brilliant posts. I concur with Gedney--this is terrific work. I'll try to address as many points as I can in this space, starting at the beginning:

Matt--

I'd love to hear if/how your thoughts have changed now that you have a better idea of what the set should look like. Concerning the initial silhouette effect, I'll say two things: First, the actions described in the script, I am thinking, will be expanded upon in rehearsals. Where the the script describes a general milling of sorts, I'm hoping to achieve something a little more orchestrated--an invocation, if you will, of Houdini and, in effect, the entire play. That being said, I'll defer my second thought to Ian: What are the specific mechanisms of this curtain/panel element? Would we be able to open the show on an open, bare stage with just the actors and Matt's silhouette effects? Following this "invocation" action, after Houdini and the play have been "brought to life," the action can move downstage, at which point the curtain could close. I like this option, but wonder if the curtain will be able to open/close with enough ease in order to achieve it? Will be operated by actors or stagehands?

Also, for the "In Case You Haven't Heard" scene with the children and the lamps, I think that all the ensemble members who are not otherwise involved in the scene (that would be everyone besides Houdini and the Mother) would hold lamps, making it 4. Although, perhaps
Houdini receives a lamp as well, as though this source of light represented some possible connection to the band of children, and to the spirit of his own mother. That might be fun. In which case, there is 5. I think it should be the job of Props to find these lamps, however you should probably be in contact with this person (do we have Props yet, Gedney?) in order to make sure they'll work. Now that I think of it, I might like the idea of having 4 (or 5) different lamps being used...very kitschy lamps, too.

I agree with your suggestion to find a Sound person. More and more I'm realizing how critical sound may be in creating this atmosphere. Gedney--we'll talk about this.

Okay, Ian--

I feel like we've already discussed some of the major issues, so I have some more specific questions:

I already mentioned this, but do you think the mechanisms of the set will be operated by stagehands or by the actors? I know in previous incarnations of the design actors were involved (i.e. opening up "the box"), but how will things work with this design? I still like the idea of having the ensemble obviously orchestrating the show, moving things around, opening things up, etc. but I also don't want to give them TOO much to do. As it is, most of them have to change characters a hundred times.

I love the chandelier/table. I can't wait to see more of it. Will it be hollow? I ask because I'm wondering if the actors (namely Walter) could appear from inside the circle of the table, or even have the table lowered down around them from the ceiling. That sounds unsafe, though...

I think it's also a good idea for us to start talking about the séance scene(s). I know the script calls for complete darkness and luminous furniture, but I had no idea at the time if that would be the most effective method. Now that we have a general idea of the set, I'd like to know how you guys think this kind of "darkness" can be achieved. Perhaps cut the luminous furniture and just do some fancy lighting tricks, like some very dramatic chiaroscuro effects (help me out, Matt, I don't know what I'm talking about)? Or clever manipulations of the set? I'd like to hear your ideas, because it's a pretty important part of the play, and one that we can really enjoy creating the spectacle of.

And I'm looking forward to the vector drawings, I think those will really help us all out.

Moving on! Silvie--

I'm liking the newspaper idea. I think it really plays well in the dichotomy we were discussing of "reality" as performance, and finding ways for traditionally "unreal" materials to become "real" garments. To go back to something Gedney was mentioning, I wonder how it will relate to your color palette (and of the set/lights)? Against the reds Ian will be working with, something like newspaper will really stand out, but I'm wondering how that sort of tone will fit in with the rest of your designs. I guess the question is--will these elements stand in opposition to the rest of the costumes, or work "harmoniously," for lack of a better word? For example, would Bess wear this elaborate vaudeville costume in which the shoulders (or whatever it may be) stand out as obviously "fake"? Or would the costume be constructed from a similar/complimentary color scheme (or perhaps the paper is dyed? Is that possible?), so that the whole thing looks like ONE outfit, and not an outfit that had the shoulders replaced with newspaper? Also, like Gedney said, it would be a good idea for us to all start talking about color, and how we'll be relating to one another.

Last thought about the newspaper--will we be in danger of tearing apart our costumes? There's going to be a lot of movement, and I'm worried the actors' clothes will all fall off by the end of the show...

Emily (V.)--

I'm going to respond by replying to your post. I'm taking up too much space.


Okay I'm out of thoughts at the moment. Good work everyone, let's keep communicating so we can have more-or-less finalized ideas soon.


Oh, and I do have the recording of the séance with me, I'm just looking for a record player. Anyone have one? Anyone else want to hear it? Let me know and maybe I can organize some sort of "listening party."

Best
-Kieran

Actor Post - Mostly Concerning Margery

As far as research goes, I’ve been looking for things mostly pertaining to Margery and Spirit Walter (as opposed to living breathing Walter) because I wanted to get a sense of who she is strictly as a person. I thought it might be helpful to look at her mediumship through what Walter said and did, because that might give me both a sense of how real or performed these séances were for her and also why she began and continued to do them. I’ve found a lot of helpful things including a book called “Margery” by Thomas R. Tietze. Although, I’ve been having some trouble finding the book « margery the Medium » by Bird for less than $199.99, so if anyone has it would I be able to borrow it for a few days when we get back to school? What was great about the book I did find was the amount of actual direct quotes. There were some pretty funny Margery and Spirit Walter quotes including the following:

“You want to know what it feels like to be a witch? You know that’s what they would have called me in Boston 150 years ago. And they would have hauled me before the general court and executed me for consorting with the devil. But now they send committees of Harvard Scientists to study me. That represents some progress doesn’t it?” – Margery

“A very famous psychic researcher from Europe … came over to study the mediumship. He held many sittings. He was impressed by the independent voice of my deceased brother which always manifests itself in the séance room. He wanted to be sure this was not my voice, so he held his hand over my mouth and nose. But the voice came through quite as plainly. ‘Now doctor,’ I said, ‘isn’t that convincing?’ And what do you suppose he said? ‘how do I know you don’t talk through your ears?’ So you see what amazing things people are willing to believe in order to avoid believing the things they don’t want to believe.” – Margery

“I never saw such a bunch of stiffs in all my life! Talk about dead people; my God!” – Spirit Walter

“Hell is now completely up to date; we burn oil.” -Spirit Walter

Additionally the book was great for tidbits that personalize these characters, giving hints to how to go about trying to see them as real people (i.e. personalities, likes and dislikes, etc). I found out a lot about Margery, which I will leave out here because I do not want to take up the whole blog. But although I found out a lot about her, it left me with a lot of questions such as what are her views on the afterlife and religion? She was raised Christian I think, but did Walter’s death or any other event change things? There are mentions of Crandon questioning her views and her being open to her doubts about how a loving God could impose religious laws, demand abject obedience or allow hell to exist. Also, did she love Crandon or was she unhappy in her marriage? What was her relationship with her son from her previous husband? Was she a good mother? Did she like or was she attracted to Bird at all or was she just using him?

Also, I was looking at the script in terms of what I’d found and I have some questions about the section around page 18, where Margery is being sort of controlled by the ensemble. Margery seems to me like an incredibly in control person throughout her life (considering the circumstances), even though in the end she loses control. I think in terms of this section, I need to find a way to stay in control a bit, even though I’m really getting thrown about. Or maybe a way to make myself think I am in control or think I am enjoying/that it is my choice to not be in control. In this section she says “I did not want my marriage to end.. and now I am beginning to forget Walter’s voice etc.. never wanted to get this far into the limelight.” I was wondering how much of this is sincere? How much does she actually mind being in the limelight? Also, is she talking about her first marriage, which did actually end or the second? I’m assuming the second, which is her marriage to Crandon, and did that end eventually?

Anyway, these are just a bunch of preliminary questions. And I found a lot of great stuff, especially the fact that she may have had her vaginal canal reconstructed by her husband so that ectoplasmic limbs could escape from it undetected.

So on that note, I will bring this post to a close.

Emily (V.)

Designers=fabulous

Everyone:

This is great stuff. You guys are all doing a terrific job, and thanks so much for posting on the proposed deadline. Gold stars all around.

Question: Do Ian and Sylvie need to talk more specifics regarding colors and how the tones and shades of Ian's set (and Matt's lighting) could wash out/highlight certain colors? Do we need to start thinking how different "orientalist" makeup might look under different kinds of lights? For example, I know Ian mentioned a deep red for the curtains that would hang down, and Sylvie mentioned warm tones for the performers (as well as newspapers, which would pop a lot on a red backdrop, I would think). So I'm just thinking it might be helpful for Sylvie to know the kind of palettes Ian's thinking of working with so that she can know what her costumes will look like up against them.

I have never taken a design course, so if these questions are way off base, let me know. Just trying to keep the ball rolling, and also to prepare ourselves for different questions the faculty will probably have when we meet with them back at school.

Separately, actors, are there any questions you guys have about the script? Any new character finds in your research? Tidbits, anecdotes? Now is a great time to ask questions and start discussing this world amongst each other and Kieran.

Also, I think Kieran's find of the recording of one of the seances is pretty terrific. I can't wait to hear it.

Cheers,
GB

Costume Concept

For the costumes, I plan to delve into the dialogue between the sincerity (or reality) of spiritual belief and the fraudulence of performance. I am in the midst of designing costumes (with a new knowledge of photoshop) that utilize both very true to period (late teens, early twenties) costumes, inspiration from photographs of the historical characters themselves and drawings and photographs from art deco vaudeville. I am also using newspaper to create fake, or fraudulent pieces in each of the characters costumes, that may be added or removed throughout each character's transitions between the realms of true belief and act. Newspaper is a prop that turns up throughout the play, mainly to signify Margery's coming out as a new performer in society, perhaps against her will. The newspaper is thin and cheap, and I think it will be interesting combined with the more 'real' pieces that I plan to both rent, make, and pull from our costume shop. I am using warmer tones for the more "performance" oriented characters and cool tones for the "spiritualists."

I am posting the costume I have been working on for Bess today, but I will post all of the character drawings hopefully by the end of winter break. Bess's costume right now is a combination of a real costume found from a vaudeville picture of someone called "Hurly Burly," and pictures I found of Bess actually assisting her husband wearing something similar. I liked how ridiculous it all was; I even showed my rendering to my grandmother who was born in 1921 and she cracked up laughing. The puffy sleaves are made of newspaper and will be removed later in the play, and especially will be absent after Houdini's death. I am using real photographs of humans underneath the clothes so that we can see how the clothes look on real people--often times drawings stretch out bodies and we don't get a real idea of what the clothes would look like.

Prelim Drawings

So, I have here Three pictures giving a basic overview of what I'm thinking. I would have better drawings (and more recent) if I could get my scanner at home to work, but since I can't here are three drawings I made just before break and scanned at school. they are mostly to scale, though no longer entirely accurate. Expect Vector works drawings in a few days.

The first one is a front view of the stage in the initial (exterior/performance) orientation; a curtain. However, since we don't have a red curtain, and we can't afford one, and it's a somewhat more fun/kitch/vaudeville solution, we are going to make a fake curtain out of painted flats. This curtain (ideally) will be able to accordian off the set as its manner of opening. additionally there will be at least one door in it, and several smaller openings to pass Houdini's equipment through.


Next is a front view of the interior space once the curtain is open. In here we have the playing space (the room) defined by a box/cage made of metal bars (finish to be decided). This framework will hopefully be climbable. In the back there is a curtained "cabinete" for the medium, intended to mirror the opening look. there will be a rug, hopefully a persian rug, so if anyone has one to share/knows of one going for cheap that would be great. The chandelier will be now a series of concentric rings at different heights, and the largest will descend to become the medium's table. There will be masking or walls behind the cage.


Finally is a top view. This is fairly self-explanatory; the circle is the chandelier-table, the square it is on is the rug, the three connected lines are the cage, the little rectangle is the cabinet. Changes will include a raised platform in back that will allow people to be seen above the cabinet, as well as masking to make them able to appear/dissappear. That's about it.


As I mentioned earlier, I will have more detailed and up to date vector works drawings to post in the next few days, which will be available as vecor works files by request.

Initial ideas

So, I went through the script today on an airplane, trying to come up with enough material for a blog post. It's really quite difficult to visualize when you don't know what the set is going to look like (hint hint nudge nudge), but here goes anyways. I definitely want to "play" with the seances, but I can't even begin until I get some idea of the set.

First of all, it seems like we might want to have a sound person. I'd really like to avoid a situation in which I end up taking charge of sound just because I can blunder my way through it kindof a little bit. I think that there's a lot of fun things that could be done with microphones and moving voices around and effects and things.

When I first read the opening effect, with lights fading up on the silhouette of Houdini, I was visualizing it with the drape open, but then a few scenes after that, the drape opens to reveal the living room behind it. The silhouette effect would be doable in front of the curtain, but I think it could be a lot more effective if the drape was open.

Also, Ian, I'm giving you full license to put practicals on the set, at your discretion. I think that they could be used quite effectively, and am happy to talk to you about it if you'd like.

The lamps held by the children, and then later by the spirits: There are clearly three spirits, but how many children? I've got a couple of ideas about how to do the lamp that flashes to bright very quickly, ranging from the simple and easy to the super-complicated. Is this even my job, or is this a props thing? Or is props in charge of getting the lamps, and me of getting them electrified?

I think I might want to try some strobe caps for lightning effects. I did some very, very preliminary looking (first couple hits on google,) and it looks like we could maybe rent them for a week for about $40 each.

That's all for right now, and hopefully this will help kick start my other designers. I wanna hear what you guys are thinking!

Convocation

Hello, everyone!

Welcome to the Ghost Vaudevillians on the Summerland Circuit blog! I think we should use this blog not only for design purposes, but for posting images, articles, links, books etc that will be useful for designers, actors, director, dramaturge and stage crew alike. Let's start by letting designers show us what they've been working towards, and once we have some stuff posted, I'll forward this link on to the faculty of the theater department so that they can see what we've been up to.

Soon,
Gedney, SM.