Hi Backers! Happy New Year. I hope the holidays have been what you wanted them to be. They have been on my end. Two Cormac McCarthy novels under my belt just this week. Like a good meal those things.
2012 has been quite a year. To get you up to speed on The Drifts Live we've pitched it in NYC to a slew of big and small producers, brought on a couple of new collaborators and started to get a little public funding for further development. We made a pitch reel too.
This summer, Lyon Smith, an ingenious musician & actor I've worked with before theatrically came on board. Lyon brings an actor's sensibility to the work. He'll improvise not only with smaller instruments, but also scratching on his digital turntable and/or some such. As far as I can tell, Lyon'll take on Canadian gigs but Douglas Lee, the wunderkind who worked with me in L.A. could do the American ones. Both are busy guys so we're in the enviable position of having two gifted musicians to play with. Both at the same time?? Hmmm...
In September, I got a pitch together including the reel. Set up by TRU (Theatre Resources Unlimited) in NYC there was everyone there from big West End types to smaller alt producers. Most of the people I pitched to thought the story, etc. was great. 3 followed up. I learned a lot since the pitch had to change person to person.
In October, Maja Ardal, an Icelandic/Scottish powerhouse actor, director and writer came on board. I first saw Maja coming back and forth from L.A. to Toronto before I moved here. She knocked me out then and just adapted and directed The Prisoner of Teheran here in town. She has a wealth of experience as a solo theatre creator and performer. If you're into the Road to Avonlea, she was on that show for a good while. She's also the former AD of Young People's Theatre, where I was Dir. of Educ. & Participation (2007-09). She'll help me to tighten the script and explore different ways to theatricalize.
This next phase will be me, Maja and Lyon up on our feet honing the script and exploring different ways of telling the story. Maja and Lyon are so so gifted I can't wait to see what we discover. Eventually, I envision some filmic and digital tech elements. We've won enough Ontario Arts Council support (thanks to Buddies in Bad Times Theatre) to fund a week of workshopping so far. It's the first public funding the project's gotten from our peers here, so I feel like the door's been inched open some. The show and the book takes on the meanings we give to bodies which could speak to a lot of people if we do it right.
As the year wraps up, I've said so long to my sister and my Dad which threw me for a loop. You all were very patient. Thank you. A lot of teaching (screenwriting, novel-writing), a couple of critical essays and an interview are out this year; I revised Alice Mitchell (a screenplay) and am revising another SK. I've also written a short which I hope to shoot this year. I've started bearing down on Mattering, a book of essays thanks to a publisher and have had a good breakthrough on the opening of my second novel, I Met Death & Sex Through My Friend, Tom Meuley. Since that's currently clocking in at almost 650 pages, breakthroughs like this are key. They let me synthesize and cohere and so tighten. As we head into 2013, I've got my eye on a couple of solo fests but trust that The Drifts Live will find it's way as it's content and development attracts additional resources and opportunities.
Thank you all for you continued support and egging on. Onward!