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A Family Affair

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First Appearance @ The Moth – Topic: Boundaries

I made my first The Moth appearance at Los Globos in LA last week and shared the following story inspired by the evening's topic ~ Boundaries: So far, to date, I think the most interesting thing I have ever done is ‘to be a parent’. A journey that once embarked upon is a no-turning-back expedition. In fact, it’s kind of like getting on a runaway train… you might find yourself hanging onto the back for dear life, and other times…

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No Trail Markers Here

SO MANY hikes in Los Angeles!   There is such easy access to so so many great hikes up in the hills.  One of the most interesting things about all of these beautiful hikes is that there are no blazes (trail markers) on any of the trails. Over the years hiking on the east coast I often mused on trail markers (hell I named my consulting business after such thoughtful considerations).  I have always found the blazes inspiring.  Simultaneously providing direction and daring me to…

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Thoughts on my way out of town…

Just saw The Phantom Thread (keep thinking Phantom Menace in my head) loved it, see it, you’ll enjoy it. But bigger than the film for me, unfortunately — because this is excellent filmmaking that stands apart from any personal stories about the creative team — is Daniel Day Lewis‘ comments about leaving acting.  As I make my preparations to leave NYC this week for some career building opportunities in Los Angeles, I can’t stop myself from lamenting how wonderful it…

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Director’s Note from Mercy Killing

The need to “play” is one of our greatest primal instincts as human beings. It is the starting place of all creative performance art, whether it be improvisation, writing, acting or directing. As in all types of play, theatrical play is not so much dependent on what we do, but as how we do it. The wonderful thing about doing a new play — one that has never been produced before — is that there is no pre-existing alternative by…

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Director’s Note from Speed-The-Plow

When I first saw Speed-The-Plow on Broadway in 1988 I thought “my God I have to do that”. My ambivalent relationship with God aside, I was so completely blown away by how the power of Mamet’s exact use of language drives the action. Like Shakespeare, all the information needed to perform the piece is written down in the dialogue. Mamet prefers that the actor forget about “emotional preparation” and just get out there and do it. He urges the actor…

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