Month: November 2014

TheatreWorks New Milford Announces 2015 Season

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On Saturday, November 23rd, TheatreWorks New Milford provided an invited audience with a sneak peek of their forthcoming production of Ken Ludwig’s The Game’s Afoot. Following the preview, the beautifully appointed holiday-themed set served as a backdrop for various announcements from the Board at TheatreWorks.

President Glenn Couture took the stage, thanking the audience for making TheatreWorks Connecticut Magazine’s 2014 winner for Best Community Theatre. He then acknowledged the passing of some of our community’s most beloved fixtures, including Jude Callirgos Robinson and Nancy Camp, both longtime friends of TheatreWorks. Couture then announced that the passing of one of TheatreWorks founding members, Hope Meinhardt, would be commemorated with the naming of the performance space as The Hope Meinhardt Memorial Auditorium.

Board Member Jill Fay Pace then announced the upcoming children’s programs, including the two TWKids productions for 2015: Dear Edwina Jr. and Shrek Jr. Continuing the tradition of bringing lesser known or more complex pieces to the stage, Secretary Joseph Russo announced the Page2Stage selections for the next season, which include Tom Eyen’s Women Behind Bars, Terrence McNally’s Master Class, Israel Horovitz’s My Old Lady and the return of Jeff Goode’s The Eight: Reindeer Monologues, which was produced on the TheatreWorks stage in 1998. Russo also informed the audience that in the summer, TheatreWorks will be introducing a Workshop Series for Connecticut Playwrights.

TheatreWorks President Glenn Couture announces the 2015 season.

TheatreWorks President Glenn Couture announces the 2015 season.

President Glenn Couture then announced the forthcoming productions that will be mounted by the theatre. Kicking off the season will be Nicky Lyon’s comedy/drama, The Lyons, directed by Matt Austin. The Lyons centers on the passing of patriarch Ben Lyons as his wife and children face the prospect of a future without him. The Lyons will open on February 20th and will run through March 13th.

Priscilla Squiers will reprise the role of Florence Foster Jenkins in Stephen Temperley’s play two-character play Souvenir. Joined by pianist Greg Chrzczon, Squiers will portray the wealthy socialite whose fame was achieved through the performance of notoriously off-key recitals, including a sold-out recital at Carnegie Hall. Souvenir will open on May 1st and will run through May 23rd.

Following Souvenir, Pulitzer Prize winner Donald Margulies’ Time Stands Still will take the stage under the direction of Sonnie Osborne. The play revolves around Sarah, a photojournalist injured in a roadside bombing in Iraq, and her reported boyfriend James as they navigate the emotional aftermath of an event that alters not only their relationship but the way they will live their life going forward. Time Stands Still will open on July 1st and will run through August 1st.

In the fourth slot will be Ken Ludwig’s farce Leading Ladies about two down-on-their-luck Shakespearean actors who are looking to get a piece of an ailing woman multi-million dollar inheritance through whatever means necessary. Mistaken identity and unexpected twists will leave audiences rolling in the aisle. At this time, the director is to be determined. Leading Ladies will open on September 18th and will run through October 10th.

The 2015 season will wrap up with a production of John Van Druten’s classic Bell, Book and Candle under the direction of Joseph Russo. The romantic comedy introduces us to Gillian Holroyd, a witch who casts a love spell on her unsuspecting neighbor, Shep Henderson. Bell, Book and Candle will open on December 4th and will run through January 9th.

For more information about auditions, tickets and other events at TheatreWorks New Milford, visit their web site at www.theatreworks.us.

A Most Passionate Love Affair

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Dumpster
On Thursday, I was at the office and some colleagues and I were discussing our weekend plans. One was grateful to be escaping the impending snow to attend a wedding in Florida, another was just looking forward to two days away from the office and I was brimming with the anticipation of filling the 10-yard dumpster that has been deposited in our driveway, hoping that the snow wouldn’t so apocalyptic that it interfered with my dumpster plans.

My colleague looked at me with surprise as I explained that I had even taken Monday off so that I could have three days to fill the dumpster.

“You’re taking time off to clean?” The look of disbelief on her face spoke volumes.

Yes. I take time off to clean. I revel in the delight of the dumpster. It would be a safe assessment to state that I am genetically predisposed to collect things. There are places in my house that if photographed and taken out of context could easily appear on Hoarders. The anxiety that stems from this knowledge is omnipresent. Despite the order and coziness of my living room, knowing what was lurks one floor below is a constant source of unrest for me. So, from time to time, we rent a dumpster and we fill it. Every toss of debris chips away at the hoard but, more importantly, at my accumulated disquiet.

Of course, this process is never a no holds barred purge of the clutter, which is why this is the third dumpster we’ve acquired in less than 18 months. The weekends devoted to the dumpster require thought, careful sorting, physical stamina and, God willing, a label maker.

My husband and children are always willing to help, which can sometimes, unintentionally, be a source of tension. My youngest daughter, bless her heart, actually likes to spend time with me, even if it means cleaning! However, I have a method to my madness and the best thing to do, until I need beasts of burden, is to leave me to my own crazy devices.

The payoff is a great. When the dumpster leaves us on Tuesday it will be filled to the brim and a bit more of our space will be reclaimed. I am sure that we will require at least one, if not two, more dumpster adventures in the spring but the good news is that there will finally be room for the Christmas tree!

My Broken Foot Will Never Heal

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WDD
Today is World Diabetes Day. Here are some sobering facts about diabetes:

  • Almost 39 million people in North America have diabetes. If we do not act now, this figure will reach 50 million by 2035.
  • 1 in 9 adults have diabetes in North America – the highest prevalence across regions. 27% of them have not been diagnosed and are at a higher risk of developing harmful and costly complications.
  • In North America, diabetes will cause 297,000 deaths in 2014. 41% of those deaths will be in people under the age of 60.
  • Worldwide, every 7 seconds one person dies from diabetes or complications of diabetes.
  • Diabetes is the leading cause of blindness, kidney failure and amputation.
  • Worldwide, $310 billion will be spent on treating diabetes.

In November of 2008, less than two months shy of my 40th birthday, I was diagnosed with Type 1 diabetes. I have decided to re-share the account of my diagnosis today, as I have another related blog post planned for the 6th anniversary of my diagnosis.

BrokenFoot
Despite the fact I had been around the theatre practically since birth, it wasn’t until 1979 that I first acted before an audience that wasn’t assembled in my living room. It was in a children’s play called Once Upon A Clothesline and I portrayed the pivotal role of Dr. Beetle who aids the unfortunate clothespin Pinette, who has fallen from the clothesline.

We rehearsed at the YMCA in whichever room was available to accommodate our tween-aged thespian troupe. On one particular afternoon we rehearsed in the gym amidst the gymnastics equipment. Like most 10-year-old girls who had been swept up in the whirlwind of Nadia Comaneci’s 1976 Summer Olympics in Montreal, I took gymnastics. And having taken two years of gymnastics classes at that very same Y, I fancied myself a gymnast. One wintry afternoon, during my offstage time, I found myself wandering over to the balance beam and performing a round-off dismount that ended in a very un-Comanecilike landing.

The next morning my swollen and purple foot prompted a visit to the doctor’s office. Upon further examination, the doctor suspected that the foot might be broken and put my foot in a temporary splint that would stabilize it until we got to the hospital to have it x-rayed. As he was wrapping my foot, I remember crying. Not because my foot hurt, although it did, but because I was going to miss out on my big acting debut.

A broken growth plate, a foot cast and a set of crutches later, the accommodating creative team rallied and I was still able to make my acting debut. In fact, the doctor that made her entrance on crutches was cause for a bit of a chortle. So, despite the drama and the tears, the show still went on and I with it.

Throughout the years, many of my acting experiences have had a “broken foot” that I’ve had to work through alongside the performance: my aunt’s suicide, the death of my grandfather, my sister’s near fatal accident, my father’s cancer diagnosis. In many ways, having a show to focus on has helped me work through those difficult times. It is probably one of the many reasons that I have such a passion for theatre and why I repeatedly refer to it as my one true constant.

Nowadays, after having dallied in many of the theatre’s disciplines – acting, writing, directing, design, stage management, choreography and crew – I find myself opting for directing projects. Don’t get me wrong, I love acting but because I have to be more discretionary with how I select my theatre projects I usually opt for directing projects. In most cases I am more passionate about the shows that I have the opportunity to direct than the ones that I would be interested in auditioning for.

Of course, as fate often dictates, when it rains it pours. 2009 promises to be quite the theatrical year for me. I have received four offers to direct, two of which I have accepted. Furthermore, while official announcements won’t be made until January, there are a few other theatre-related endeavors that I will have a hand in. Naturally, amidst this flurry of theatrical activity, two dream roles that I would give my eye-teeth to audition for have surfaced. Given my love for theatre, all of this opportunity is akin to letting a kid loose in a candy store. And being the realist that I am, I have been waiting for a few months for the other shoe to drop.

And it has.

The shoe first dropped with the reminder that I need to be cognizant of the other responsibilities that I have in my life: my family, my marriage, my job. Regretfully, I never pursued my theatrical ambitions in earnest and, therefore, my love of the stage does not pay the bills. As such, there is no justification for my theatrical adventures outside of the happiness and personal fulfillment it brings me. Given the strain that it puts on the other aspects of my life and recognizing the selfishness of pursuing an unrealized dream is basically a dropping shoe that was both inevitable and justified.

However, unbeknownst to me at the time, that dropping shoe was falling off of a broken foot.

DiabetesCongrats
Last week I was diagnosed with Type 1 diabetes. During tech week for Little Women and the week abroad that followed I was feeling a bit under the weather. I knew something was up and scheduled a doctor’s appointment for the Monday following my return from the UK. At the appointment I listed off my symptoms and the nurse asked me if I had history of diabetes in my family. After a couple of quick tests in the office, it was evident that I did, in fact, have diabetes. My doctor sent me to the pharmacy and I was put on insulin straight away. The next day, I went to the endocrinologist who explained to me that I had such high sugar and ketone levels that I narrowly escaped ketoacidosis and hospitalization. Another blood test later, it was revealed that I did indeed have type 1 diabetes and that I would be on insulin injections for the rest of my life.

Now, like any self-respecting theatre aficionado, I have seen Steel Magnolias and, until now, that play/film had formed the basis for my knowledge of diabetes, specifically type 1 which Julia Roberts’ character Shelby has. When I tell people of my diagnosis, I can see in their faces whether or not they are replaying select scenes Steel Magnolias in their heads. And that’s okay. I have done it countless times, too.

There are times when I’m scared. There are times when I’m pissed off. There are times when I’m sad. There are times when I’m defiant. And those feelings will not go away, much like the disease responsible for generating them. I’m sure these emotions will grow more infrequent as I prepare for a lifetime of “managing” diabetes. It is just a matter of incorporating them, and it, into my now drastically altered life.

It is amazing what a person can learn in two weeks. Naturally, I am reading as much as I can about the disease and am doing my level best to get it under control. My life experiences have provided a pretty solid medical knowledge, so I’m learning the textbook side of things fairly easily and I’ve become a pro at injecting insulin into my now bruise-covered stomach. But in the past two weeks I’ve also learned a lot about myself. I’ve learned that I have a passion for many things: my family, my friends and my art. I’ve also learned how difficult it is to balance so many loves. While it isn’t a skill I’ve yet mastered, it is one I plan to hone. But as Emerson says, art is a jealous mistress. Believe me, I recognize the priorities I’ve got at the moment but I also know that my mistress will wait only so long before she gets restless.

So here I am, left to steady my course and face the road ahead. Yes, I have a broken foot and, while it may slow me down for a bit, it will not stop me. So, despite the drama and the tears, the show will go on and I will go on with it.

Mark my words.

 

‘The Normal Heart’ Beats Strong at The Brookfield Theatre for the Arts

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Photo Credit: Stephen Cihanek Photography

Photo Credit: Stephen Cihanek Photography

It is a Tuesday night. You pour yourself a glass of wine, fire up the laptop and log on to your favorite social media site. You scroll through post after post about the Ebola virus. Some people make jokes, some criticize the President’s response, some admonish the management of the first cases in the United States and some decry the mistreatment of the health care workers whose life’s work is to eradicate the world of this disease. Fearmongers and realists abound as we attempt to make sense of an admittedly scary situation.

Now replace the word Ebola in the above paragraph with AIDS.

In the early 80s, New York based writer Larry Kramer watched HIV/AIDS rush relentlessly into the lives of the gay community and take hold, only to let go when its victims exhaled their dying breath. The then mysterious disease received little, if any, attention from the media, City Hall, the federal government or the medical community. Even those that seemed to be in immediate danger from the disease ignored early cautionary guidance urging them to stop having sex as a way to prevent transmission of the disease. With no viral media and the minimal coverage relegated to page six, Kramer was prompted to become the co-founder of the Gay Men’s Health Crisis to advocate for the research into the cause of this insidious disease. Hold a mirror up to Kramer’s life, place a pen in his hand and the result is The Normal Heart, the award-winning autobiographical drama now playing at The Brookfield Theatre for the Arts.

Photo Credit: Stephen Cihanek Photograpy

Photo Credit: Stephen Cihanek Photograpy

In recent years, The Normal Heart, which was originally produced at The Public Theater in 1985, has received revitalized critical acclaim with a star-studded turn on Broadway and a film adaptation for HBO. Kramer’s play is a diatribe against the hurdles faced by the gay community in the early 80s and it is infused with anger, frustration and profound sadness. Despite the clear agenda of the script, Kramer crafts intricate and diverse characters, men with subtle differences who paint the common thread of HIV/AIDS with their own personal reactions to the epidemic.

The principal character of Ned Weeks, portrayed with great passion and intricacy by Michael Wright, is the embodiment of Kramer himself. Weeks is deeply committed to his cause and is justifiably angry at the reaction, or lack thereof, to this mysterious “gay cancer” pervading his life and the lives of those around him. He is bombastic to a fault and is never afraid to speak his mind, which sometimes has devastating results. Wright delivers the performance of a lifetime as he navigates the demanding range of emotions penned by Kramer. The rage and pathos demonstrated by Wright are tempered by moments of self-deprecating humor and quiet gentleness, resulting in what can be defined as a tour de force accomplishment.

As Weeks’ lover  and New York Times style reporter Felix, Miles Everett is both gentile and impassioned. In the earlier moments of the play, Everett came off as reserved and uncomfortable, which was perhaps a directorial choice given the awkward first encounters he has with Weeks. As his performance progressed, however, he eased into the role and, once there, delivered some of the production’s most heartbreaking and honest moments.

Vicki Sosbe’s portrayal of the wheelchair-bound Dr. Emma Brookner is terse and ferocious. Based on  real-life physician and early HIV/AIDS researcher Linda Laubenstein, Dr. Brookner is uncompromising in her quest to find the cause of the disease that is ravaging the gay community while issuing warnings to anyone who will listen, be it the government or her patients. Sosbe’s monologue, delivered to a bureaucrat holding the purse strings for grant funds, is blazing and brutally honest, worthy of mid-performance applause.

Photo Credit: Stephen Cihanek Photography

Photo Credit: Stephen Cihanek Photography

Each character in Kramer’s play has a moment where the audience is allowed to peer into the most
harrowing moments of the effect HIV/AIDS had on the gay community. Todd Santa Maria’s poignant depiction of mothers flying into to town to say goodbye to their sons, Kyle Pinto’s off-handed representation of the indifference of Mayor Koch’s administration, Christopher Bird’s self-centered and uneasy approach to sibling acceptance and Michael Reilly’s fearful account of the possibility of government conspiracy, quarantine and loss of insurance are all threads in this most intricate tapestry. Of particular note is J. Scott Williams, as Weeks’ adversarial and closeted friend. His heartrending account of taking his dying lover to see his mother is a devastating recollection of the fear, agony and discrimination experienced by those afflicted with HIV/AIDS.

Andy Okell’s white diorama set-design, reminiscent of the designs used in the Off-Broadway and Broadway productions, served its function as a canvas for the effective projections utilized throughout the production. However, for the majority of the performance, images are not projected, making the flat white walls appear stark. Likewise, Brian Casella’s lighting design lacked color and texture that could have given the set more dimension. Instead, the lighting often left the actors washed out or cast in shadow.

Under David Bass’ detailed and clearly heartfelt direction, The Normal Heart comes off as what it should be: an actor’s play with a glimpse into our recent history when action was necessary. A different course of action may have helped slow the spread of a disease that has resulted in 39 million deaths worldwide since 1981. Larry Kramer was a trailblazer of HIV/AIDS activism, earning his recent inclusion in the Out100 as not only an activist and writer but as a legend.

In our community we often see theatrical pieces referred to as important. While I postulate that all theatre on some level is important, The Normal Heart is, without doubt, one of the most important plays of our time. I urge you to make time in your schedule to see this accomplished interpretation of a rarely produced theatrical gem at The Brookfield Theatre for the Arts.

THE NORMAL HEART runs November 14, 15, 21 and 22 at 8:00pm and November 16 at 2:00pm. Tickets for all shows are $19.99 for General Admission. Students will be admitted for $15. Tickets available at www.brookfieldtheatre.org.

Artistically Speaking

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Credit: John Howrey http://bit.ly/JBjIfP

Credit: John Howrey
http://bit.ly/JBjIfP

A couple of weeks ago I was at a dinner party attended by a handful of friends with a commonly shared passion for theatre. Some of us have dabbled in professional theatre but, for most of us, our passions are now relegated to the various roles in community theatre: directors, actors, designers, ad infinitum. Late summer/early fall is the time of year when the local theatres begin to announce their upcoming seasons. Submissions are made, rumors abound and, inevitably, dinner party conversations are had.

In case you didn’t know, theatre people generally are not considered to be of the selfless sort. When seasons are announced you can see the wheels turning as we invariably ask: What roles are there for me? Would I pay money to see my friend in that show? Do I love that show enough to work behind the scenes?

We certainly have opinions about the seasons when they are announced. Some are informed and some are not.

While I postulate that every person responsible for bringing a production “to life” plays a very important role (pardon the pun) in the process, I have in the past year or two come to the conclusion that one of the most critical roles is that of the Artistic Director. According to Wikipedia, the “abbreviated” definition of an Artistic Director is as follows:

The Artistic Director of a theatre company is the individual with the overarching artistic control of the theatre’s production choices, directorial choices, and overall artistic vision.

You can, of course, see a much fuller definition here or Google it to your heart’s content. There are many definitions and interpretations of what an Artistic Director should be.

As someone with a vested interest in local productions and how they are selected, I have some opinions about the role of the Artistic Director and what makes a good one. As every attorney on The Good Wife who has appeared before Judge Patrice Lessner (Ana Gasteyer) knows, every point I make should be preceded with or appended by the phrase: “In my opinion.”

The Artistic Director should ensure that the theatre has a clear artistic vision and should select shows based on that vision. Most theatres have a mission statement that embodies the theatre’s vision and a good Artistic Director should do their best to align the season selection to that vision. Aligning your season to the artistic vision of the theatre can be tricky, especially when a theatre becomes known for specific types or styles of theatre. I know that when discussing area theatres, there are a few that I easily categorize: The Theatre That Does Family Musicals, The Theatre That Does Farce, The Theatre That Does Shows With Gay Themes, The Theatre That Takes Chances, etc. Once a theatre has been labeled that way, it makes it difficult for the Artistic Director to align the vision with the show selection.

The Artistic Director should understand the history of the theatre and the reasons behind past successes and failures. If a theatre is known for producing rock musicals that frequently sell out, they should continue to include them in their season. If a theatre has worked successfully with a director that brings a support staff and a repeat talent pool, they should seek out that director and ask them what project they are interested in doing next. Likewise, if a theatre has produced a show that was poorly attended, they need to understand why. Was it a show about Millennials produced at a theatre whose patronage is comprised largely of Baby Boomers? Did they produce a show about a highly dysfunctional family during the holiday season? I feel it is important to take risks but a theatre must be prepared to offset a potential failure with something that has been typically successful for their space.

The Artistic Director should be aware of what other shows are being done in the area and when. There is a certain thrill that comes from being the first theatre to produce a show after the rights are released. However, “hot commodities” tend to get over-produced right out of the gate. When The 25th Annual Putnam County Spelling Bee was made available, several theatres in my area produced it which, over time, showed diminishing returns. It isn’t just new shows that suffer from repeat performances within a 60-mile radius. How many productions of Les Miserables (Rent, Lend Me A Tenor, Spring Awakening, God of Carnage) did you see in the last year? For a long time, I’ve been saying there should be a symposium of area artistic directors who discuss their plans with the intent to play nicely in the sandbox together. I know that is Quixotic of me to wish for that but the fact remains: as much as I love Les Miserables, I have no interest in seeing four productions of it in one year’s time.

The Artistic Director should leave the business side of the organization to the President or Managing Director. The other important factor that is critical to a theatre’s success is how the business is managed. Typically, the business function is managed by the President or Managing Director and they work in concert with the Artistic Director to run the theatre. While it certainly is a situation where one hand must wash the other to run a theatre effectively, it is important to draw a clear line between artistic and business responsibilities. Managing the administration, business issues, finances, fundraising, board relations, donor relations, publicity and marketing is a task best left to someone other than the Artistic Director. When the line becomes muddied, a theatre’s vision can become compromised.

The Artistic Director should ask their board, their audience and their talent for feedback. The best run theatres maintain a dialogue with their partners. Whether it is through annual meetings, traditional surveys or via social media, it is important to ask for input from the people who invest their time and money in your theatre. If you ask an audience what shows they want to see or give the creative people a chance to tell you what shows they want to be part of, your turnout from auditions to production will be better. Likewise, following up with your board, your audience and your talent after the production gives you a sense of what you’ve done well and where you can improve.

The Artistic Director should read and understand the requirements of every show the theatre is going to produce. The Artistic Director’s methods for show selection vary from theatre to theatre. Some Artistic Directors autonomously select the shows while others rely on a committee to cull the options into a manageable number of options from which the Artistic Director will select. Regardless of the method, it is imperative that the Artistic Director read the show and know the financial and creative requirements needed to produce it well. If your theatre is well-known for family friendly musicals, perhaps producing Urinetown or Bloody Bloody Andrew Jackson would be a bad move. If your theatre doesn’t have an ethnically diverse talent pool, mounting a production of Dreamgirls might not be the best choice. Many of the frustrations a theatre experiences can be avoided if the Artistic Director has a realistic understanding of their selections.

The Artistic Director should have a comprehensive knowledge of their P&L and the cost of producing the shows they select. This is where the partnership between the Artistic Director and the Managing Director is critical. A well-informed Artistic Director has a good sense of what how much money the theatre has in the bank, they know what productions have made money and which haven’t and they have a clear understanding of what it costs to produce a particular play or musical. Historical data and a comprehensive knowledge of the productions you produce are crucial. Little Shop of Horrors is a wonderful musical but if you can’t afford to build or rent Audrey II, the show will fail. Your theatre may love Shakespeare and fall prey to the allure of not having to pay royalties because the show is part of the public domain. However, if you don’t have the talent (in quality or numbers) to mount the production, you are accepting a risk that may not pay off for your venue.

The Artistic Director should select shows based on the talent base that is readily available to them. There are a lot of great plays and musicals available for production. That is a fact. However, I have seen Artistic Director’s become focused on a particular passion project and passion, indeed, is important. However, without the resources to execute the production well, why do it? In community theate there is a limited talent pool from which to select, especially when it is reduced by factors related to gender, age, ethnicity or ability. If a theatre chooses to do Into The Woods, there should be a Musical Director in place that can lead a cast through the intricacies of a Sondheim score. This is also where knowledge of what other theatres are doing is important. If a theatre is looking to produce A Few Good Men, they should be sure there aren’t concurrent productions of 1776 and Twelve Angry Men. (NOTE: Whether it is high school, college or community theatre, the fact remains – men are ALWAYS in demand.)

The Artistic Director should be able to step in as the director of any show they have chosen for inclusion in their season. The adage that the show must go on did not become a theatre staple without cause. Invariably, things go wrong. Among the worst things to happen is to lose your director. This is where the creative talents of the Artistic Director becomes most relevant. When the Artistic Director selects the show, especially in community theatre, in the back of their minds they should be planning for the unexpected. A good Artistic Director has spent time in the director’s chair and should be able to sit in a vacated seat at a moment’s notice. While it is an infrequent occurrence, it does happen. I’ve seen it.

There you have it. My view of the role of the Artistic Director. Now, I know that no rules are steadfast and there are always exceptions. Personally, as a champion of new and original theatre, I find it challenging for Artistic Directors to stray from the war horses and traditional pieces. There are theatres out there that take chances and the ones that do it successfully do so armed with good information, a balanced approach and a willingness to take a chance. For those individuals, I am grateful. I am sure that the audiences and the creative communities are as well.

November Becomes Stresspiration

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AngerStresspiration? Yes – it is a word that I made up. So what? It really sums up my continuous and apparent need to add more stress to my life by categorizing it as an inspirational endeavor.

Between October and the end of the year, our family celebrates seven birthdays, eight if you include December 25th’s birthday boy. And that is one heck of a stressful birthday celebration. Then there is travel, holidays, parties, shows to see, concerts to attend and, of course, the subsequent financial ruin that basically leaves me in tears and an anxiety-induced cold sweat by the time my birthday rolls around on January 1st.

Naturally, the first thing I would do is add more to my plate. At least the three things I’ve added won’t cost me more than time and here they are:

NaNoWriMo
I tried National Novel Writing Month last year and failed miserably. Of course, I was directing a play at the time so I pretty much went to work and then to rehearsal, with no time to write. This year, I have a bit of a head start as I am going to be converting my play, A Gift of Undetermined Value, to a novel format. I’m leaving the house in about an hour for a party so I’m already in the hole 50,000 words.

National Diabetes Month
As many of you know, I was diagnosed with Type 1 diabetes right before my 40th birthday. A very big part of me wishes that I had been diagnosed when I was a child because it would be much more incorporated with my lifestyle than it is now. I promise you, if you live forty years without it, the changes are very evident and exceedingly frustrating. That said, I have made it a goal of mine to post about what it is like to live with diabetes, including a week where I do a play-by-play on social media during November to help people understand what it’s like to live with it.

Blog A Day
So, my blog has been pretty neglected. Some friends that didn’t want to commit to NaNoWriMo felt that writing a blog post a day would be less ominous in nature. So I signed up. This is the first post for Blog A Day.

Tomorrow there might be another one.