by Robert Bowie, Jr. | Jun 15, 2023 | Featured, Man Machine, Plays
The staged reading of The Grace of God & The Man Machine went very well. It had energy. It came alive.
A staged reading is a collaborative stress test for the words of the story but without the action. Its success or failure for me is measured by the energy generated by the words of the play, delivered by highly talented actors in character without the aid of action on the stage.
A stage play is different. It is an art form, caught between the novel — where the story blooms in the imagination of the reader — and the movie — where the story is told for the screen and, once told, never changes.
The theater performance is the same as the other two in that it is first created by words but it is different because it is delivered to its audience live.
We were blessed with eight characters performed by gifted actors who brought the words alive, so we could see if the play created that energy we were looking for and, in cases where it did not, make the changes needed so they do.
A few nights before Onaje opened at the NYCFringe, I was honored to have dinner with the famous Broadway producer and founder of the Commercial Theatre Institute (CTI), Tom Viertel. I asked him on opening night if he could tell if he had a hit play. He said yes. He told me to sit in the back of the theater where you could see the audience, and then look for any movement — searching for a handkerchief, unwrapping candy, or looking at the program — any motion other than full concentration on the stage. This was evidence of loss of focus, and should be marked in the text.
At ten o’clock, the day of the reading, eight professional and highly successful professional actors met Steve Eich for the first time and they began reading the play together. They had all been provided the script before, but now Steve’s direction was creating a harmony that would create this energy. They broke for lunch at 1:00, and then began their practice performance with editing and interruptions to bring that harmony to the process. I was very impressed by each actor after they finished, and broke for dinner at 5:30 to return, dressed in black for the reading at 7:00.
What happened at seven o’clock was quite remarkable. Each of the actors had become their characters, and I found myself twice lost in the words that I had written, and rediscovered the power of the play exclusively through the interactions of the actors.
At the end of the first act, I was quite surprised and pleased, because there was an extended ovation from what had been a quiet crowd. I had done what Tom Viertel told me to do. I had watched the crowd. They hadn’t moved, and when anyone did move I marked the script.
More importantly, I had felt the energy from the stage and I had been moved by this remarkable collaborative stress test. It worked.
On to the next step.
by Robert Bowie, Jr. | Jun 12, 2023 | Featured, Man Machine, Plays
It’s TONIGHT, Monday night. Join us! Please use this link to RSVP:
https://robertbowiejr.com/rsvp
Our one-night-only staged reading at Chesapeake Shakespeare Studio Theatre in Baltimore is THIS MONDAY, June 12, at 7:00 pm.
Directed by Stephen Eich, former Managing Director of Chicago’s Steppenwolf Theatre, and starring a fantastic ensemble of talented actors, this staged reading of The Grace of God and the Man Machine promises to be an exceptional night of live theater you don’t want to miss.
And it’s free!
We’re encouraging theater owners and artistic directors in the Baltimore/DC area to come experience the play, and would love to have you there in the audience.
Chesapeake Shakespeare Studio Theatre
206 E. Redwood St.
Baltimore, MD 20212 (map).
Parking one block away at:
Arrow Parking, 204 E. Lombard St., Baltimore, MD (map).
Doors open at 6:30, performance begins at 7:00.
Please CLICK HERE to RSVP: https://robertbowiejr.com/rsvp
Be there or be square!
by Robert Bowie, Jr. | Jun 6, 2023 | Featured, Man Machine, Plays
Meet our cast of characters:
Dan, a Chesapeake Bay oysterman, his wife Sarah, Henderson, an ex-cop, Richard Jr., a cowboy driving a convertible, Onaje, a hitchhiker navigating with a sextant, Andrew, a civil rights worker, Belle, a truck stop waitress, and Richard Sr., a Chesapeake Bay oysterman.
Meet our amazing cast:
Our staged reading at Chesapeake Shakespeare Company is coming up, Monday, June 12, 7:00 pm. Thanks to our casting director, Barbara Pinolini, we are thrilled to have assembled an incredible array of talented professional actors from the Baltimore/DC area: Elliot Dash (Dan), Aakhu Freeman (Sarah), Ron Heneghan (Henderson), Drew Kopas (Richard Jr.), Michael Mainwaring (Onaje), Stephen Russell Murray (Andrew), Jenna Rossman (Belle), Todd Scofield (Richard Sr.).
Meet our accomplished director:
Stephen Eich is a former Managing Director of Chicago’s Steppenwolf Theatre, where he produced over 125 productions including the 1993 TONY-nominated The Song of Jacob Zulu (featuring Ladysmith Black Mambazo), as well as the 1990 TONY-winning Best Play, The Grapes of Wrath. He also produced Steve Martin’s award-winning Picasso at the Lapin Agile at Steppenwolf, before taking it to Los Angeles, New York, San Francisco and England and the National Tour.
Join us this Monday night!
The performance is free. We’re looking for theater owners and artistic directors in the Baltimore/DC area to host future professional performances (and also supporters of live theater).
Chesapeake Shakespeare Studio Theatre
206 E. Redwood St.
Baltimore, MD 20212 (map).
Parking one block away at:
Arrow Parking, 204 E. Lombard St., Baltimore, MD (map).
Doors open at 6:15, performance begins at 7:00.
Please CLICK HERE to RSVP: https://robertbowiejr.com/rsvp
Hope to meet you there!
by Robert Bowie, Jr. | May 30, 2023 | Featured, Man Machine, Plays
As our staged reading of The Grace of God & The Man Machine gets ready for its performance we are getting more inquiries about the cost of admission.
It’s FREE!
We are actively courting the artistic directors of professional theaters in the Washington/Baltimore area and suburbs to find a home for The Grace of God & The Man Machine, and have invited them to come see the play at a staged reading, Monday, June 12 at the Chesapeake Shakespeare Studio Theatre in the Financial District of Baltimore.
Director Stephen Eich will take over the theater the morning on June 12th. He and Casting Director Barbara Pinolini have hand-picked some of the finest actors in the Washington/Baltimore area (more on them next week). Many of these actors will likely be meeting for the first time, coming together to create two families and a history of love and conflict from eight very complex, often humorous characters.
A little after noon, they will take a lunch break, then continue to rehearse the play until 5:30 or so to break for dinner.
Come watch this happen. It’s a highly emotional play with great humor and the actors are exhilarating. Come early before 7:00 pm. The cash bar will be open. Stay afterward for the talkback with Steve, Barbara, the actors, and myself. Feel the play. Be part of theater working. All for free.
Chesapeake Shakespeare Studio Theatre
206 E. Redwood St.
Baltimore, MD 20212 (map).
Parking one block away at:
Arrow Parking, 204 E. Lombard St., Baltimore, MD (map).
Doors open at 6:15, performance begins at 7:00.
Please CLICK HERE to RSVP: https://robertbowiejr.com/rsvp
by Robert Bowie, Jr. | May 16, 2023 | Featured, Man Machine, Plays
Mark your calendar for Monday night, June 12!
Several months ago I was contacted by Stephen Eich. He told me that he had read my play, The Grace of God & The Man Machine, and he wanted to talk about it. This was an amazing surprise for several reasons:
First, Steven Eich is a remarkable figure in all aspects of American theatre. He has been Managing Director, Steppenwolf Theatre Chicago, 1979-1995. Managing Director, Geffen Playhouse, Los Angeles, 2000-2008, Executive Director, Pasadena
Playhouse, Pasadena, 2009-2012.
He has also been an award-winning producer and director. To name a few: The Grapes of Wrath, TONY AWARD BEST PLAY 1990, Producer; Picasso at the Lapin Agile, Producer, 1993–Present; Paul Simon’s The Capeman, Co-Producer 1996–1998; The Trial of an American President, NYC 2016, Director; Frank The Man, Music-Director/Producer.
Second, I was still mourning what I concluded was the end of life for this wonderful play after its off Broadway closing before it opened, after years of preparation and delays, because its producer went under due to Covid closures.
Over the last several months, Steve and I have gone over the play page by page, line by line, and finally we met last month in Baltimore so Steve could meet with Barbara Pinolini, the very well respected actress and casting Director from Washington DC with whom steve wanted to work to get his professional cast and to secure the theater he wanted for a staged reading in the Baltimore/Washington area. Since the play concerns the civil rights riots in the eastern shore of Maryland, in 1967 and its aftermath, Steve’s theory is because it happened in the Maryland/ D.C. Area this is where its professional rebirth should occur.
Please join us! Mark your calendar for Monday night, June 12. The performance is free. We’re looking for theater owners and artistic directors in the Baltimore/DC area to host future professional performances (and also supporters of live theater).
Chesapeake Shakespeare Studio Theatre
206 E. Redwood St.
Baltimore, MD 20212 (map).
Parking one block away at:
Arrow Parking, 204 E. Lombard St., Baltimore, MD (map).
Doors open at 6:15, performance begins at 7:00.
Please CLICK HERE to RSVP: https://robertbowiejr.com/rsvp
by Robert Bowie, Jr. | Jul 12, 2022 | Featured, Man Machine, Personal, Plays
This morning was hard. I woke up and it was raining. Over the last month, I have been coming to recognize a hard truth — which I finally realized this morning.
Over five years ago, I started this blog to force myself into a weekly discipline, to improve my writing skills and to explore how I could start a whole new career after retirement from a very happy first career as a lawyer.
My whole life I had quietly wanted to see if I could create a life as an artist.
After writing 10 plays for the wonderful little theaters in Baltimore, I decided to see if I could break into New York professional theater and I committed to writing and publishing poems.
I took classes at the New York Commercial Theater Institute and was fortunate to be accepted into the poetry program at Bread Loaf in Vermont.
All of a sudden, it was starting to happen, this improbable dream of mine.
My play “Onaje” was selected by FringeNYC in 2018 and, after great reviews, got picked up and nurtured by a NYC producer. After the rewrites and several table reads to make it a more fleshed out two-act play, “The Grace of God & The Man Machine” was ready.
But then COVID hit in March of 2020. The theaters shut down just as we were waiting to open off-Broadway.
Then in February of this year, we were ready again. We planned to open off-Broadway in November 2022 for a one-month run at Theatre Row on 42nd Street.
Also this year, I published “An Accidental Diary: A Sonnet a Week for a Year,” so we were on our way.
The dream was coming true!
But then, a month ago, COVID struck again and the producer went out of business after 15 years of producing successful shows. Even still, the producer offered the use of the performance space if I could find a new producer with such short notice.
This seems like an impossible task. I looked in the mirror this morning and I said it: “This lifetime dream may not happen.”
But then I realized, I’m not ready to give up just yet. Somewhere out there, there may be a partner, or a resource, or some other way to make this happen.
I turned away and looked for a diversion, for good news to chase away this awful gathering sadness.
Well, last week I learned that, along with my sonnet “Summer Thunderstorms” being chosen a runner-up for the Robert Frost Foundation poetry contest this year, “City Snow” had been included in the “Maryland Bards Poetry Review 2022” anthology. Both poems are from my book, “An Accidental Diary.”
I sat down by the window and opened my little book and reread “Summer Thunderstorm”:
Summer Thunderstorms
As with the generations long since dead
The fire and brimstone of the status quo
Wakes him up from the safety of his bed
And lightening frames him in the window
And photographs him in its afterglow.
Tonight he feels his present and its past
As the summer storm also comes and goes.
Conclusions are foolish in a world so vast.
For at the edges of his world and heart
Far past the farthest boundary of his grasp
Where ideas cause worlds to come apart
He lives in this place that will not last.
He loves his life more than he can explain
And leaves the window open to hear the rain.
I opened the windows to hear the rain.
After I looked out at the storm for a little while, I got a fresh cup of coffee and started writing this. I have stuff to do. It’s time to get back to work.
