Good, good ||8ve session yesterday: we worked on Dylan Thomas and revisited some Donne and Stevens. Piano and soprano saxophone. The energy of the group, yesterday, was much more about having the text function as one musical element in a sea of musical elements–a direction I don’t always go in, myself, but it was good to be pushed there. I think the results were wonderful. I left the session feeling really exhilarated.
After, went to JoeSquared on North Avenue and saw Second N8ture, a funk group (wonderful slow-paced cover of “Let’s Get It On”), and a horn-driven ensemble called the Chris Pumphrey Sextet. Their warmup reminded me of the experimental horn music Beth and I saw in Chicago, once upon a time — the three clarinetists in an art gallery, with everyone sitting around intently listening, and run after run after run of notes blurring together. But the actual set, once it started, was more traditional and programmatic — is that the right word? It had a lot of narrative elements, to my ear.. I liked them both. It’s good to be hearing more music.
Second N8ture plays at JoeSquared every second Saturday.
I also reread THE REAL THING (Stoppard) yesterday, which is what the title’s from. It’s Annie screaming at her producer into the phone, from a scene I directed for a class in high school. Scene 11. The first scene, I believe, I ever directed. With ED. I’m pretty sure. There are funny notes in my script, blocking and pacing notes. On the first page, someone has written (+ William Shakespeare) under the author’s name, (I think that was ED) and on the last page, “Kronk and Zadok Memorial Day,” after the oddly-named soldiers that Annie’s playwright lover is writing a bad television show about. (That was F.) The book is wrinkled and beat-up with weeks of rehearsal. It looks like what it is.