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Gametone mic and Kim Guzowski
Do I look harried?
Does Kim look annoyed?
Well that's the way I remember it.
I am captured here telling her that the show has already started.
(She is the first and only speaking character
and we would soon run out of vamping music)
Kim appears irked that I am breaking her character.
I don't blame her.
Just a minute before, my partner Hugh Mann
was playing the pre-show
music,
while I was studying my cryptic music cue sheet
covered with my chicken scratched notes,
hoping I would correctly interpret the actions of the dancers
and come in on time with my share of the music.
Corinna Vosse, the creative mastermind behind this whole thing,
rightly has high standards
as to what she wants, and when she wants it.
She will tell you about it in no uncertain terms.
I imagine this comes with the territory of creating such
amazing pageant and spectacle on an
approaching Absolute Zero budget.
The pre-show music
was a recording of Hugh improvising on clarinet
while I laid down an impromptu bed on the samplers.
The music is ambient, eerie and dense enough to
fill that echoing space with just the guitar amplifier we had as a P.A.
Playing Real Audio will freeze the animations
reload the page to get them going again
Pre-Show Music
We recorded it just a few days before and were quite well pleased.
It was more the style of music
that comes naturally to both of us
as opposed to the more programmatic stuff we created for the play.
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Corinna had
sent Kim out about a half hour earlier to
circumnavigate this huge waterfront warehouse turned art complex,
and drum up an audience.
Kim did this in the wonderful stiff creaking lumber
that she gave her character as soon as
she was draped in her industrial foam padding
and had her skin painted a bronze green patina .
It was taking her a bit longer to return than expected
And we were running out of music.
Instead of a torch the Statue is
holding a cage on a chain.
The original intent was to ignite steel wool inside it
and swing it around for a spectacular pyrotechnic effect.
That was nixed for safety reasons.
Somewhere in my mind I think I remember talk
of putting a lab rat inside instead, but I could easily be confabulating or remembering
someone's joke.
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We already had a willing audience in their seats as well as standing.
We didn't need them restless as well as shivering
in this immense drafty space, that had once been used for storage
of off-loaded ship's cargo,
but now was empty and a close-to-perfect venue
for this many ways mysterious performance.
So, Corinna asked me to go find the Statue.
Now, I could have run to the back and flung open the large doors in the back and
had an amazing view of the real Statue of Liberty.
But my usual insanity prevailed, and I didn't.
The view through those doors
must have had something to do with the
inception of the Statue as the narrator of this play,
but there was just too much breeze coming in off NY Harbor,
and the back doors were barricaded against the wind and my escape
on that cool, sunny early Spring day.
But to really find our Statue, Kim Guzowski,
I had to run up the aisle
past the audience and into the glaring sunlight.
Sunblind, I saw Kim about 30 feet away stiff legging towards me.
But I was not sure if she was milling about the entrance
still hawking our art wares or heading right in.
I think from the look on her face when
I told her the show had started,
it was the latter.
 Next... the great and powerful
Gecko 
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