The Halfway Point

Ah, yes, a red-letter day on Monday. We started Act 2! In the opening of the act and one of the longest scenes in the show, Kitty tries to paint and discovers she’s lost her inspiration.

The students in the background were doing some inspired improv as pretentious student artists summoning the art gods or painting one dot at a time, taking a step back, paining another dot, taking another step back. There was a lot of “playing” going on all night, and it was the FIRST time we were doing this material. I was very proud of them, and I got a helpful indication about dialogue quality and whether anything needed to change or be chucked out. Which it mostly didn’t. I wasn’t sure how the bit about Toni-O’s supposed abstract painting looking like hearts and puppies and baby seals would fly. It was a big change in this latest draft, as Toni-O’s character had previously been androgynous and painted portraiture in which we could never identify the sex of the subject. I like the new touchy-feely stuff and what the actor did with it. I think we’ll keep it.

Then we did “Critique Mystique.” I love the funk quality of the music. And the performers were really selling it. But I’m still not sure how necessary the song is. It seems repetitive of Kitty and Toni-O’s duet in Act 1 and also, to some degree, the next song, “Crit This!”

Speaking of “Crit This!”, we worked that last night. I’ve got pictures here of what I call “the empty frame dance.” Some great visuals that Barbara and Monica have put together. If only REAL critiques were this full of life and dance.

The "Crit This!" line-up.

The "Crit This!" line-up.

Edward leads the critique charge with the biggest painting of all.

Edward leads the critique charge with the biggest painting of all.

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