There’s been much speculation whirling about who we would tap to take on the role of Crumpet the Elf, the central figure in David Sedaris’ screamingly funny send-up of the joys (and horrors) of being a Macy’s holiday elf, The Santaland Diaries. We are delighted to finally be able to put that speculation to rest and let you know that yes, our very own Batboy… the man who was his own wife…. the man who emceed Storm Large’s debut on the Portland Center Stage Main Stage…. yes, its true, Wade McCollum will be donning the pointy green hat and curly toed shoes throughout the month of December in our Studio.

I guess this means you better go ahead and grab your tickets. Its a limited engagement and about 40% of the tickets are already gone. Get yours before the rest go!!

Rick Lewis, the musical director for Portland Center Stage’s production of Grey Gardens talks about the nuances of this fine musical score.

Rick Lewis Talks about Grey Gardens’ Musical Score from Portland Center Stage on Vimeo.

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Storm Large, James Beaton, Jim Brunberg, and Scott Weddle talk love, life, brussel sprouts, and Crazy Enough!

Storm and Her Balls from Portland Center Stage on Vimeo.

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So last week began with the introduction of the musicans for Crazy Enough into the rehearsal hall.  We had asked to add them a little earlier than usual, since so much of the interplay between Storm, the music and the text had to be worked out between the plays. 

I had met the uber-cool Jim Brunberg at a fundraiser last Spring for John Branam’s City Council run.  Besides being a killer guitar player, bass player and vocalist, Jim is also the mastermind behind Mississippi Studios, the city’s most important recording studio and live music venue.   About halfway through our final night in the rehearsal hall, Jim learned that his twins were being born at the hospital, so he ran as fast as he could.

Scott Weddle is our drummer.  He started out as a songwriter and guitar player, and learned to play the drums because he wanted more rhythm on his recordings.  Scott is also singing back up vocals.

We brought a sound system into the room so that Courtney (in the dark blue sweater) could begin getting a sense of how to mix the sound for the show, and so Storm wouldn’t blow her voice out trying to sing over the band.  This also gave James (in the blue stripes) an opportunity to refine how the band entered underneath the dialogue.  It is tricky, as Jim confessed they were playing at about 1/10th the volume they might actually use in a rock concert, but its necessary underneath the quieter parts of the dialogue.

Storm had been battling a wicked cough, and I sent her to the doctor.  She found out that she had walking pneumonia and started a round of antibiotics.  We only lost one real day of rehearsal, but it took her awhile to get back to full vocal strength.

Some audience members at our invited dress asked if the wall behind Storm was actually part of the Armory that we had revealed for this show.  In actuality it was all constructed (from styrofoam) in our scene shop.  They lay out the sheets of styrofoam on a table saw to shave out the grooves, then our scene painter goes back in with acetone and ‘dissolves’ different bricks to different levels, so that it creates the worn look that you see here.  It looks pretty darn cool.

Even yesterday Storm continued to tinker with the text, trying to find the exact language to use for the play’s conclusion.

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Finally moved onstage yesterday for The Importance of Being Earnest.  After the complexities of mounting Apollo and How to Disappear, the crew seemed delighted to be ahead of schedule with the set and costumes.

Sharonlee McLean is having  a ball as Miss Prism, and I think her costume just made her that much happier.   Life as a blonde!

The transformations from act to act happen pretty seamlessly, but offer very dramatically different tones.  It looks like a big sorbet in the middle of a 9 course meal.  Sweet.

Nikki Coble (Cecily) had no trouble at all balancing her new hat on her head.  In some ways, I think it’s actually easier to act this play in clothes of the period than in contemporary clothes – because all of a sudden it feels like this language SHOULD be coming out of your mouth.

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