The new books are out! The new books are out!
After two years of releasing books
in February (“Acting at the Speed of Life” in Feb 2011 and “The Big Book ofMoliere Monologues” in February 2012), I was beginning to feel like some kind
of a slacker, not having anything to show for the Winter of 2013. I had several
projects “in the pipeline,” but didn’t have anything ready to go for this year.
But then I started to think about
some of the one-man plays I’ve developed which have a strong “fan base”
already. Perhaps having them available in book form would make them accessible
to the next generation of one-man-play actors, who could take them into
production… Or perhaps they would provide yet another marketing angle for
venues that might stumble across me through Amazon. And perhaps these (very
shiny) books, might add some professional polish to the operation, serving me
as another very elaborate “business card.”
Given, especially, that I’d recently
performed a very rare showing of my one-man comic sci-fi thriller, “Criteria,”
and the words, actions and activities were very clear in my memory, this was a
chance to capture the excitement of that play while it was still fresh.
And so, in ADDITION to my ongoing
projects: The vast booking campaign, editing Shakespeare’s “War of the Roses,”
drawing up my next one-man play, “Shakespeare’s Greatest Hits: The History
Cycle” (all ten history plays in one hour!), as well as the “Greatest Speech of
All Time” study guide, I began editing my way through “Moliere Than Thou” and
“Criteria.”
Whereas, in the past, the scripts
were laid out for technicians, this time around, I was writing to explain the
action for someone who was NOT seeing them live, but who would want to get as
close to the full experience of them simply through the written word. At the
same time, I didn’t want to spell out every little gesture or inflection, given
that another actor might actually, one day, work to make these characters his
(or her) own.
Back on the Road...
Newberry College (in South Carolina) was booking me for
a record fourth time (each time with a different show!). They’ve booked almost
all I have to offer, but still have not booked “Moliere Than Thou!”
This time they were hosting “The
Greatest Speech of All Time,” and they’d arranged for the big, beautiful local opera
house as my venue. It was a full day, as that morning I gave two different
radio interviews (one on the phone outside of the studio of the other, before
walking inside to do the second interview), prior to a Q&A with a student audience about public speaking. (The rare, improvised session with the
students can be viewed HERE (Alas, you have to go to "on demand" scroll down to "The Transofming Power of Rhetoric" and register, and THEN they let you watch it!)
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| Bremner and Lisa |
I pushed from South Carolina on
toward Texas, with a stop in New Orleans, just in time for the kickoff of their
Mardi Gras celebration. I visited with Bremner and Lisa, who just moved down to
New Orleans last Fall, and they brought me along to a party and the “Krewe du
Vieux” parade, where more friends were made and much more fun was to be had.
In Texas, I stopped to visit cousins
Kathy and Larry, before proceeding down to Laredo, where the Community College
was hosting “Moliere Than Thou.” (In our last issue of “The View From Here,”
the director of this program showed up at a rollicking performance at Texas
State last fall, and decided to book me.)
My hotel in Laredo was barely a half-mile from the border, and more than once I
was warned not to cross over to the Mexican side, where light-skinned Yankees
driving American cars are bait for blackmail and ransom.
I played it safe, and the show went
very well, and my host was graciously enthusiastic, hoping to book “Lot o’
Shakespeare” on a subsequent pass.
I zipped back up to Houston, and
spent four days amid the excitement of the Texas Educational Theatre Festival.
This time around, I was both an
exhibitor and a guest artist at the festival, presenting “Moliere Than Thou”
and “The Greatest Speech of All Time,” along with my acting workshop. In
exchange, the folks from TETA were covering my hotel, giving me a booth, and
generally treating me very nicely.
I got to hang out with some terrific
friends at the conference (a couple of dear old friends came out to see the new
show), and this time around, I began to discover the value of RAFFLES.
Whereas, in the midst of my exhibit
hall sales pitch, I might forget to ask someone who stops by to sign in, it’s much easier and smoother to capture their info by offering them a chance to win a
fabulous shiny new book or a t-shirt (while they are spinning my bingo cage and
testing my memory of Shakespeare monologues). I walked away with over 70 e-mail
addresses. Most of these were student e-mails, but someday they, too, will be
running their own theatre companies, or teaching high school and college… and
will be looking to produce Moliere and Shakespeare, and will remember me.
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| Hill College Flyer |
The show was extremely well
received, and they threw a reception afterwards, during which all expressed
their profound astonishment at my memory.
My billeters from the Kansas City
Fringe Festival, Alan and Sandy, were once again opening their home to me for a
week of downtime (prior to a show at Johnson County Community College), which
enabled me to work through a couple of fresh drafts of the new books. The
biggest challenges were actually the “front and back matter,” those odd pages
that have all the legal mumbo jumbo, the ISBN numbers, the contents, the
introductions (and the advertisements for all the other fine books proudly
presented by the TMRT Press).
Perhaps most fun (and most
frustrating) were the covers of the books. My previous trend was to place the
photos and illustrations over a red “gradient” (a characteristic which made the
Acting text and the Moliere Monologue book go well together), the nature of the
illustration for “Moliere Than Thou,” which had some white patches peeking
through the Moliere curls, necessitated a much lighter background. While I’d
been tempted to go with a blue backdrop (in honor of the French flag), it was a
bright orange-gold-yellow background that really clicked for me, which couldn’t
help but remind me of Moliere’s patron, King Louis, the “sun king.”
And, given that this choice was
going to break the pattern of the “red gradient,” I could explore new options
for “Criteria,” and found a great red/purple combination which brought new life
to the “tattooed hand” of the “Criteria” illustration. This book cover gave me
the greatest struggle as I kept adjusting and readjusting the illustration to
get it centered on the cover… (every time I adjusted the position, the layout
artist at the printer would compensate the positioning in the other
direction), which delayed the release of the book by several days.
I made an early run over to Johnson
County Community College to pick up flyers to share with a few of my Kansas
City friends, and while I was there, I wandered “backstage” to use the bathroom. While I
was back there, one of the students caught my eye and asked, “Are you Timothy
Mooney?”
“Why, yes…” (Suddenly, I felt very
self-conscious about holding a dozen flyers in my hand.)
“I’m a big fan of your book.” (He
had recognized me from my book cover!)
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| The JCCC Bookstore! |
As I’ve mentioned before, Johnson
County Community College was the first school to begin integrating my book into
their curriculum, and the students there were well versed in my theories
already. When I returned a few days later to give my workshop, they already
knew the answers to many of the questions that I ask in the course of my
exchange with them, and we were able to open up the floor early to some more
nuanced questions, such as: “What do you mean by ‘Currency’?” and “Can you
explain the ‘Steering into a skid’ analogy?”
I also noticed a bit of a murmur that passed among them every
time they caught me smiling. It took a
while for me to realize that they had long identified me with the photo that
they saw on the back cover of my book, where I sport a bright, happy smile. I
guess people build up expectations about the author that they see on the back
cover, and look for that same persona to emerge when they meet him in person.
The attendance for “Moliere Than
Thou” and “Lot o’ Shakespere” was thin, but amongst the attendees were a bunch
of Kansas City friends who had not caught “Moliere” before, as well as the KC
Fringe Executive Director, who has always been so busy when I was performing at her
festival that she’d never seen me perform before.
After the show, I sold a bunch of
books and t-shirts, and I made good use of one of those smart-phone attachments
which enables me to take payments via credit card. (It’s WAY easy.)
From Kansas City, I headed on to a
workshop and a performance of “Lot o’ Shakespeare” at Newmann University in
Wichita. The professor and I got into several good conversations about the
Shakespeare Authorship Question (I’ve come to believe that the works of“Shakespeare” may well have been composed by Mary Sidney), and whether “Edward
III” belongs in the canon (which means I’ll now have more to memorize!).
Neumann had brought me in on my very
first tour, back in 2002, but had constructed a new theatre building and added
an actual theatre department since that time. Which means, that they might not
need to wait ten years before the next time they bring me in!
A Chicago booking had cancelled, which meant that I headed
directly East to my next booking at Xavier University in Cincinnati. The French
teacher at Xavier had booked me perhaps three years back, and was once again
teaching “Laughter is the best (Moral) Medicine: the Comedies of Moliere.” This
time, she asked me to come in and work with her class (made up mostly of French
students) on their performances of scenes by Moliere, featuring
English-language translations of “The School for Wives,” “Tartuffe” and “The
Precious Young Maidens.”
A couple of days later, she asked her students what they
had gotten out of the session, and they replied with several comments that I
had seemed to hit upon several times:
“What is the joke of this particular
scene?”
“How might body language reflect the action?”
“How does the scene change its direction and emotion
as it progresses?”
“What is the impact of the character background and societal
level?”
“How does line rhythm affect the comic tone?”
I think they just provided me a good
outline for a class on performing comedy. (Although I think “The Rule of
Threes” will need its own chapter.)
Similarly, the teacher from Johnson
County sent me copies of the quizzes that she gives her students. It’s great to
check out the things that teachers expect their students to get out of my
material, as it reveals to me what the value is that people are seeing in the text.
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| The French Club Officers |
I performed the show that night with an enthusiastic response from the French students.
Afterwards, my host took me out for dinner, along with the four officers of the
French Club, and we had a fun dinner at an Italian restaurant. The restaurant
seemed a little crowded for a weeknight, and I realized that several couples
were out celebrating Valentine’s Day. Of course, as is sometimes the case, all four of the French Club officers and their teacher were female, and I realized I was enjoying a 5-way Valentine’s Day date with five gorgeous women (see
photos). At least one of the restaurant patrons high-fived me on my way out.
I stopped for the weekend in West
Virginia, where Meaghan Macey, a college student who has been a fan of my work
since high school, had offered to do some clean-up and refashioning of the wigs
that I’ve been hauling around for the last 10 years…! (Which have gotten pretty
ratty over the years.)
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| Meaghan Macey |
The “last minuteness” of the arrangements
for this performance made for some shy attendance, but the hosts gave me
terrific technical support, helped fix a glitch in the slide show, and were
gracious and enthusiastic, talking about doing another event again soon.
From West Virginia, I made a run out
to Maryland. A booking on Long Island for Feb 22 had fallen through, which
meant cooling my heels for about a week before my upcoming show at Duke
University. And so, I dropped in on Maureen and Tim once again. Whereas last
fall, I’d performed “Greatest Speech” at their local community center, this
time Maureen scheduled me for a performance of “Moliere Than Thou,” once again to
great acclaim. (I was a little distracted when one of the locals arrived late,
sat to the side and seemed to be doing some sort of paperwork through the
course of the show, but afterwards discovered that he had been sketching my
performance, throughout... We'll post a copy of that, here, soon!)
B-More Nuts
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| Subliminal Messaging |
Perhaps my greatest discovery of
this leg of the trip was during my stop at a local micro-brewery, where Maureen
and I discovered “B-More Nuts.” These were, essentially, peanuts covered with a
potato chip coating, a delicious nugget that satisfied two cravings at once! These
will be a serious threat to my waistline for years to come.
I raced down to Durham, NC, with a
performance at Duke University. The folks at Duke took terrific care of me,
with fancy on-campus lodging. The professor took me out to dinner the night I
arrived, and to lunch on the day of the show. I spoke to her class about
Moliere, and, while I wasn’t explaining any biographical details the teacher
didn’t already know, she expressed regard for my delivery, which captured
Moliere’s style, and the drama inherent in his biography.
Afterwards she insisted that she wanted to bring me back again whenever she
teaches this course.
That night, I was performing
“Moliere Than Thou” in the “Warehouse,” a flexible conference-room space set up
as a theatre venue. They set up perhaps 100 chairs in the space, and seemed to
fill 90 of them. And while the crowd was enthused throughout, there was one
older gentleman in the front row who seemed especially difficult to win over. I
couldn’t seem to get him to crack a smile. After the show, I made mention of
him to my host, and she insisted that he had enjoyed himself immensely… which
just goes to show, I guess, that I may be the worst judge of how any individual
performance is being received.
The host had arranged for a
reception after the show, and I went out to shake hands and visit (while
enjoying a glass of wine). The server at the reception was very attentive,
refilling my wine glass whenever she saw it emptying. And when I went to pack
up my trunk, she brought out an unopened bottle for me to take back to my room.
(Rock star treatement!)
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| Cincinnati |
I was performing “Moliere Than Thou”
in an afternoon appearance for the French Department, and this time I had a
“fan” in the audience… Sophie was a student who had performed in my “Tartuffe” at a nearby
high school, who was now attending the university. It was a fun show, as she,
very generously, helped me out with the “Doctor in Spite of Himself” volunteer
scene, and joined me for a bite to eat afterwards.
The next day, it was a short hop to
Louisville, Kentucky, where this year’s Southeast Theatre Conference (SETC) was
going on. This was intended to be the year that I was going to skip SETC, given that I’d scheduled myself to be on the west coast. But I was surprised to get a call from the SETC vice-president,
asking after my newest show, “The Greatest Speech of All Time,” wanting to
include it in their annual “Fringe Festival.”
Given that I’d performed “Lot o’
Shakespeare” in the previous year’s Fringe Fest, I’d assume that it would take
a year or two before they’d let me back in… but with the chance to perform in a featured slot
once again, I redrew my route and booked a booth in the exhibit hall.
I set up the bingo cage at my booth,
April drove down from Chicago, to meet me up with the new copies of the
published “Moliere Than Thou” and “Criteria” scripts, and I was surprised to
discover how many of the students actually purchased copies of “Criteria.” I
assume sci-fi beats Moliere with that crowd.
“Greatest Speech” was extremely well
received, with perhaps the strongest reaction to the comic relief of the “Teddy
Roosevelt” speech I’ve ever gotten. I was feeling the crowd of fifty or
so punctuate that speech with laughter, and I rolled with the
timing of that laughter in to feed the absurdity of subsequent passages.
I have started giving the audience the
opportunity to “vote” on their favorite speech (another opportunity to capture e-mail addresses), and this was the closest that
any speaker has come close to edging out the Martin Luther King speech as the
“Greatest Speech of All Time.” (Dr. King edged out Teddy Roosevelt, twelve
votes to nine.)
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| Glenville Canyon |
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| Snow College Flyer |
I travelled three-quarters of the
way across Nevada that night, and continued on to Sacramento early the
following morning. I pulled in at around 11 am for an afternoon appearance at
Sacramento State University.
Driving around the school, I started
to have flashbacks, and realized that I’d performed here some six years prior,
in 2007. (In the past, I have had difficulty remembering what the venue looked
like, or what a given teacher looks like, but this time
I had spaced out the fact that I had performed at this school at all!)
500 performances down the road, the brain begins to unravel.
500 performances down the road, the brain begins to unravel.
This show was going over very well,
but halfway through the Tartuffe seduction scene, amidst boisterous laughter, I
caught a glimpse of a woman sitting halfway back, with a seeming scowl on her
face. Was she disturbed by the sexy fun of “Tartuffe?” I found myself
ratcheting back on the sexy fun.
At the end of the show, I checked in
with my enthusiastic host to see if I had, perhaps, crossed some line, given
that there were high school students in attendance, citing the woman I’d
noticed.
“Oh, I know who you’re talking
about. No, she scowls at everything.”
Coincidentally, that same night, a
high school less than a mile from Sac State was producing my version of
“Imaginary Invalid,” and had invited me to see the show and address the cast
afterwards. I sat down amidst a packed house, and was introduced during the
director’s pre-show speech. The audience applauded and I stood, only to say, “I
hope you still feel that way AFTER you’ve seen the show!”
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| "Invalid" Poster... with autographs |
I had about a half hour to address
the actors, and tried to balance my honest enthusiasm for the quality of their work
with my encouragement for areas for their continued growth. Even so, when we shifted
over to “asking questions,” the actor playing Argan still asked… “So… did you
LIKE the show…?”
The actors headed off to their cast
party, leaving myself, the director, the
scene designer and a couple of the faculty, and the director broke out a couple bottles of wine, as we chatted on well into
the night. Even universities don’t usually allow alcohol on campus… but
apparently this private (Catholic) high school, was quite comfortable with it. (And had a special stash...)
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| Snake River Canyon |
I’d kept in touch with Brenda, one of the teachers who’d attended that performance, and she was now working on her own adaptation of Homer’s “The Iliad”. She and I took some time on Sunday to work through the opening scene of her script, and her husband joined us on a walk through the Snake River canyon (the place where Evel Kenivel had attempted his famous jump). We even bumped into a fellow jogging along that path who I’d met after that same performance ten years prior!
Sunday night, several of Brenda’s
friends joined us for a dinner party, and I gave each of them the option of
selecting one of my performance pieces (from Shakespeare, Moliere, or “Greatest
Speech”) for post-dinner entertainment. They chose Richard III, Teddy
Roosevelt, Tartuffe and Hamlet. (I was working the crowd to inspire a booking
for my next pass through Idaho.)
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| Sunset in South Dakota |
"Down Time"
I threw myself into the big Spring
e-mailing project. For once, I was able to begin the process of writing to the
ten thousand or so faculty members that I send out to twice a year, well BEFORE
they were running off to summer vacation. I spent about a week chasing down
bookings in Illinois, Oregon, Washington and Texas, all the while working on my NEXT big one-man show, "Shakespeare's Greatest Hits: The History Cycle."
I was working to tell the story of
Shakespeare’s ten history plays, from King John through Henry VIII in the
course of a single hour. The idea was to take those already-memorized monologues
(from “Lot o’ Shakespeare”) and to augment them with additional monologues and
narration from each play. I was reading my way through, each time trimming two
or three minutes from a script that I managed to shrink from 84 minutes down to
61.
I knew that, when I
got tired of hearing the sound of my own voice, that there was more room for
editing, and when all of my theatrical instincts were telling me that I should
be racing toward a climax of sorts, but was, instead finding myself bogged down
in Shakespeare’s quieter, more lyrical monologues, I knew that I needed to cut
to the chase.
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| Somewhere in Utah... |
In the meantime, I was eyeing the
months of May and June, when I’d have down-time from my tour, and would have
some serious memorization time available. If I could finish this project this
summer, then perhaps I would be able to add it to my repertory in time to make
it available in the 2013-14 school year.
I was also flirting with the idea of
taking my venture “Not-For-Profit.” After eleven years of touring this
material, with hundreds of school performances testifying to its educational
value, I was beginning to realize how much support I was shutting myself off
from by keeping this project as a “sole proprietorship.” Just about all of my “profits”
have always been eaten up with gas, hotels, promotional expenses and
administrative costs. And yet, many of these operational costs might be
supported through grants, which would enable me to earn a “normal” salary… This
may be another big effort this summer, and I’m also looking to bolster that
with a “Kickstarter” campaign to support a project in advance of the NFP
designation.
Eventually, it was time to pack up
and race off again, and I pushed on down to Arkansas, performing my acting
workshop at John Brown University, where I’d performed about eight years ago,
and continuing on to Fort Worth, where a fellow who’d booked me for a workshop
in San Antonio was now working at All Saints Episcopal School. Whereas his
former school could only afford the workshop, James had convinced the new
school to start a guest artist/guest speaker program, which would host me as
its first guest. While there were only about a dozen students present for the
workshop itself, they were extremely talented, and some of the best
cold-readers I’ve encountered. (The ability to get your eyes up off of the
page to recite the lines invariably makes one actor look much more appealing in
the casting process when up against another actor of equivalent talent.)
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| Descent into L.A. |
About 90 people showed up for the
evening performance, and the response was terrific. At the end, a bunch of the actors, followed by the whole audience, stood
for an ovation.
This completed the “Spring Tour,”
and while I am still anticipating performances in New Orleans (April 18-21 at
the Shadowbox Theatre, 9 pm) and in Chicago (where I’m doing “The Greatest
Speech of All Time” at Dad’s senior living community, The Moorings, on May 10),
there were no more school bookings on the schedule.
With a “week off” prior to New
Orleans, I caught a flight to L.A. (after less than three hours of sleep, getting
up in time for a 6 am flight out of Dallas). Thus, I have spent the last week
in L.A., visiting with Kirsten, enjoying her recently installed hot tub… and
e-mailing faculty of Louisiana, Pennsylvania and Florida schools.
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| Kirsten Moomey |
My strategy for this year’s spring
e-mail campaign is to “jump around” the map. Whereas in the past, I might have
knocked down individual states in alphabetical order, or in geographical
proximity, this time I decided to hit just one or two states in a given region,
and move on elsewhere, before doubling back to neighboring states. That way, if
I have a sense that NOBODY from a particular state has responded, I can
allocate the bulk of that time over to a neighboring state, and restructure the
route as I go.
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| "Boeing, Boeing" had a nice set... |
I have officially declared the
Winter-Spring of 2014 as my “Sabbattical” from the frenzied tour, opening up
blocks of time for longer residencies. I already have one “taker” with
Westshore Community College of Michgan offering to produce “The School for
Husbands” in March, which gave me the idea to promote this as the “School Semester,”
suggesting productions of “School for Wives” and “The Critique of the School
for Wives” and “The Rehearsal at Versailles” as options: all four of which are
thematically related, and all of which still seem to be awaiting their
“breakthrough” production. Perhaps some concentrated work will enable me to
continue to tweak the scripts and become better reminded of the selling points
of each.
And, once again, I’m volunteering as
a Group Leader for a Pathways event! This one is coming up in Chattnooga, April
26-28 shortly after my New Orleans performances. Come “change your world in a
weekend!”
Miles on the Escape: 150,500
Discoveries: It’s a lot of fun
seeing shiny new versions of scripts that I’ve been working with for years. * A
raffle is a terrific way to enhance the sales-pitch! * People build up
expectations about the author that they see on the back cover, and look for
that same persona to emerge when they meet him in person. * Seven of these semester’s nine
performances were re-bookings from schools that had booked me at least once
already! * I may be the worst judge of how any individual performance is being
received. * I may book more “Moliere” with the teachers, but I sell more Sci-Fi
with the students. * When I get tired of hearing my own voice, that’s a clear
clue that the show needs editing. * It’s possible that my new one-man show might
have every bit as much literary appeal as theatrical. * Putting
off applying for Not-for-Profit status cuts me off from support that people
might otherwise be enthusiastic about giving.
On the Nightstand: “Currency” my "self-help book" (publishing Winter of 2014?)
Temperature: Mid-70s in L.A.
Next Performances: “Lot o’Shakespeare” at the Shadowbox Theatre in New Orleans, April 18-21, 9 pm, and
“The Greatest Speech of All Time” at The Moorings in Arlington Heights, on May
10, 7 pm. Also, I’ll be the featured Green Show performer at the OregonShakespeare Fest on July 12!
Timothy Mooney Repertory Theatre
Tour Schedule
(Available dates in CAPITAL LETTERS; Already-booked
dates in GREEN;
Pending bookings in PURPLE; Festival opportunities in RED) MTT = “Moliere than Thou”; LoS = “Lot o’ Shakespeare; GSAT =
“Greatest Speech of All Time”
WINTER / SPRING, 2013
4/18-21 Shadowbox Theatre, New Orleans
4/22-24 FLORIDA
/ SOUTH CAROLINA / NORTH CAROLINA
4/25 TENNESSEE
4/26-28 Pathways Basic Seminar, Chattanooga,
TN
4/29-5/3 ALABAMA / GEORGIA / FLORIDA
5/10 The Moorings, Arlington Heights, IL (GSAT)
SUMMER, 2013
6/18-23 International
Thespian Festival, Lincoln, NE
7/12 Oregon Shakespeare Festival, Ashland, OR
7/11-14 AATF,
Providence, RI
7/18-28 KC
Fringe Festival
8/1-4 ATHE,
Orlando Florida
8/1-11 Minnesota
Fringe Festival
8/15-25 Indianapolis Fringe Festival
FALL, 2013
9/3-6 WISCONSIN
/ ILLINOIS / MICHIGAN / IOWA
9/7 “Pathways Idol” Fundraiser, Chicago, IL
9/8-9 MICHIGAN
/ INDIANA / OHIO
9/8-9 Cedarville University, Cedarville, OH
9/10-14 PENNSYLVANIA
/ NEW YORK
9/15-19 NEW
ENGLAND
9/20 Harrison High School, Harrison NY (MTT)
9/21-23NEW
YORK / NEW JERSEY / PENNSYLVANIA / NEW ENGLAND
9/24 MARYLAND
/ DELAWARE / D.C.
9/25-29VIRGINIA
/ WEST VIRGINIA
9/26 Glenville State College, Glenville, WV
9/30-10/2 NORTH
CAROLINA / SOUTH CAROLINA / GEORGIA / FLORIDA
10/3-6 GEORGIA /
FLORIDA
10/7-8 Georgia College & State University,
Millidgeville, GA
10/9-12 SOUTH
CAROLINA / GEORGIA / KENTUCKY / TENNESSEE
10/13-15 ALABAMA / MISSISSIPPI / LOUISIANA / ARKANSAS
10/16 Texas Wesleyan University, Ft. Worth, TX (GSAT)
10/17-21 TEXAS
/ OKLAHOMA
10/23 Northern Arizona University, Flagstaff, AZ (GSAT)
10/22-24 NEW
MEXICO / ARIZONA / COLORADO
10/25-28 UTAH /
NEVADA / CALIFORNIA
10/29-11/2
CALIFORNIA
11/3-5 OREGON /
WASHINGTON
11/6-10 IDAHO
/ UTAH / MONTANA / WYOMING
11/11-13 NORTH
DAKOTA / SOUTH DAKOTA / MINNESOTA / WISCONSIN
11/14 Geneva High School, Geneva, IL (MTT)
11/15-17
ILLINOIS / IOWA / MISSOURI / NEBRASKA
11/17-20
WYOMING / COLORADO / KANSAS
11/21-27
OKLAHOMA / ARKANSAS / OHIO / TENNESSEE / KENTUCKY
11/28-12/1
THANKSGIVING BREAK
12/2-5 NORTH
CAROLINA / SOUTH CAROLINA / GEORGIA / FLORIDA
12/6-8 Seminole State College, Orlando, FL (LoS?)
12/9-10 ALABAMA
/ MISSISSIPPI / ARKANSAS / LOUISIANA
12/11 TEXAS /
OKLAHOMA / KANSAS
12/12-14 TEXAS / COLORADO (Available for Colorado Thespians)
SPRING, 2014
1/3-2/14 AVAILABLE FOR GUEST ARTIST RESIDENCY
2/5-9 Region
IV ACTF Festival (?)
2/15-3/6 Westshore Community
College, Scottville, MI
3/5-9 SETC,
Mobile, AL (?)
3/9-4/5 AVAILABLE
FOR GUEST ARTIST RESIDENCY
4/7-5/10 AVAILABLE FOR GUEST ARTIST RESIDENCY
SUMMER, 2014
June: Planet
Connections Theatre Festival, NYC
July: International
Community Theatre Festival, Venice, FL
