Monday, 15 January 2018

Oak Floors, Flaneurity

He's still in the show, this flaneur. He speaks first, emerging from darkness as we all do. "It's getting toward noon," he says, as the light rises. "It's summer, a glorious summer." He carries on, pointing out a bench or two, a tree or two, a sidewalk, lawn, which appear as he mentions them. Urbanites are gathering for a break at noon hour, relaxing, checking their news feeds. A vamp builds out of the downtown noise-track--the engines, sirens, back-up beeps--and away we go with "Song to Sing," the opening number, a catalogue of things that bug us in this world. If I have my way (and whose other way would I have), this opener will bring the house down, and we just started! The flaneur, meanwhile, has faded to the edge of the scene, stepping forward again after the button to guide us into the next scene--Patty locked out of her apartment.
All very neat when I put it that way. Need I remind you, dear reader, of the obvious pitfalls of this enterprise? Nah.
But today's immediate matter is whether the flaneur speaks in prose or verse. So far, it's both. I think I have to go one way or the other. 

Friday, 12 January 2018

Oak Floors, More About The Flaneur

I call him, now, the flaneur (with that tent accent over the a), this figure who hovers before and after scenes, taking us around. Only we can see or hear him, though he's willing to chat with whoever comes along.
As flaneur, he walks, of course. The hallways of the Oak Floors are perfect for that. He's freer from time than the rest of us. He takes his job seriously, for a nut.
I must resist the temptation, however, to make this figure the hero of the piece. He's about audience only. What they need to stay with the show.

Thursday, 4 January 2018

Oak Floors, The Musical

Every time I see a rehearsal, I learn something. Today I was able to catch the run for lights of Around the World in 80 Days, opening in two weeks at Globe Theatre. 
There's a narrator, at times. His/Her voice fulfills the simple task of letting us know what world we're living in, in this play. 
In recent days I've been think about inserting such a function into my musical (which is now known by the title of this blog entry). This Balladeer, as I call him, will guide us into and through the world of the piece without, I hope, getting in the way. Until these last few days, a young woman named Patty had the job of animating the transitions from scene to scene. I rather liked the hallway dance she did, and how just by cocking an ear toward a door as she passed she could get us into a scene inside. Now the Balladeer (a name I like less every time I use it) will do it.
As with every choice I make with this work, the pitfalls are plenty. But so far, so good. Patty, I think, will turn out to be more interesting when she's less responsible for moving things along. 
As long as this B. voice doesn't say too much. 
Closing note about one of the characters, whom I'd dubbed Paleo Joey, also the name of his food truck business: His real name is Paolo, from Portugal, and he's heading for a fado session with the nurse, Evelyn.