"Hysterical, campy fun!"
- Tony Brown, cleveland.com

"Full of suspense, romance, drama and lots of laughs!"

- Dan Shaurette, Out of the Coffin podcast

This extraordinary one-act drama deftly explores the evolution of the centuries-old vampire myth.

Sunday, October 16, 2005

Souled Out

Houses have been good - this Saturday evening's attendance was very good. Not a seat available, I had to crouch in the tech booth and watch from there. It's exciting - a two week run, but with ten performances, I hadn't actually seen the show since last Wednesday - opening - and the difference was impressive.

On opening night, Christopher J., who has seen all three permutations of the show, said it's "so tight it squeaks." I think that's a compliment ... but I will say that while the compnay has lost none of their intensity, they weren't as manic last night as on opening. Sadie's Mary is about to explode with the excitement her newfound life, Margi's Claire continues to find new, authetic teenaged shading, Matt's timing, both comic and menacing, remains razor sharp, much has been said about Doug's damnright frightening Percy (oh yes, I said it, it's frightening) and Tim ... well. Tim has lit a candle and offered himself to the machine.

I took a number of notes last night. The plan remains to submit this show to a festival or two. One thing I miss about the original production is having audience members take setas in tables on the stage. The show seems weird when there's no one in the coffee shop but them, like no one else goes there. It looks better when John isn't the only person dressed in street clothes in the place - or when there are other Goth types there, drinking real coffee.

We should have an interesting post-mortem. Post-mortem. Heh.

Also: It's not that vampires cannot be photographer - it's that they should not be photographed. They end up looking all washed out and pasty.

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