A very quick Melbourne wrap up

I wont bother saying I'll add to this later, because all signs say I might not actually do that - given my past blogs.

Things I should talk about if I get the chance are the Disney exhibition, the Bill Viola - Raft, the Melbourne Gallery, the shite but amusing Shakespeare in the Botans, the frisbee times in the botans, 'The King's Speech,' between me and Angus - ruining the internet at my Aunts, amusing fights between my ma and her sis.

But for now, I will just say, I trundled around a very cold, wintery Melbourne on the 2nd day we were here, and went to the ACMI (Australian Center for Moving Images) and experienced the Walt Disney exhibition which I was dubious about - only really went because I was a bit bored, and I tell you, it brought memories of my childhood back - and I've realized that The Little Mermaid, Cinderella, The Lion King and Beauty and the Beast taught me how to dream and has directly affected the way I think about Romance - like big, epic romance - and how that comes into my work. Today I found myself listening to hiphop and writing this:

The storm it brews. An ocean of dreams tumbling like a drunk man after a night on the bottles on the ice. I was there once. Arse in the sand, head in the air.

But I remember those days with the candor of someone who was once attractive, once slim, once fiercely intelligent. In a lot of ways his love ruined me. I pined for him. So when he was away, I would hide away by being out there, at the pub with the girls with the travellers, excusing my behaviour because I knew that 20% of the year I would be myself again.

I would be the pretty innocent he met on a trip to the mainland. He moved here for me, but in doing so, made me more lonely than I even could imagine. He came, he loved and he disappeared. I long for him now like a drug addict high on something and coming down but wanting more. Not that I would know about that.

That says a lot about the whimsy I encourage in my life and in my theatre. Sort of over dramatic, but with true heart. I've been wondering lately what my flavour is. And yes, comedy is a huge part of what I do. And what I have written about before - purpose, form and relationship - but it's also very much about what brings people together and what tears them apart.

I'm starting to find excitement in the work Emma and I are embarking on now because of that.

Our whole piece has got that running through it's blood. And that old analogy of how you build theatre like a body: bones, muscle and blood. Well we've got the bones and the blood - we just need to build some strong as muscle - it really makes me feel better about the whole thing - the short amount of time gives me serious anxiety.

Ok, so after getting excited about the fables and foibles of Walt Dis, I wombled out and went into the Bill Viola (see below) exhib 'The Raft' a video art piece which is both shocking, moving and presumptuous all once - the premise is almost a catalyst for a modern day's Noah's Ark that fails because of present day human's inability to connect. That didn't explain anything did it? Well, basically, these people enter the space, like they are waiting for a bus, once they are all there - and most of them aren't communicating - this high pressure water hoons at them from either side. Like truly hoons. My first instinct was ok, You're making a point. And then when the granny went down and no one helped her... Well, I was quite overcome. Some people by the time it stopped and the true panic it invoked in the participants and the onlookers (me) stopped, there was a sense of community by the sheer fact that a catastrophic event bandied them together.

I have to stop writing shortly because we're about to be called into the plane. But the rest of that day was spent with Adam, walking around - we bought a frisbee, got some wine and went and hooned it around the park. It was tres fun. A man got attacked hardcore by a swan. We also found this thing we titled a SWUCK - half swan, half duck. Truly interesting day. Yars...

More as when. When is right! xoxo

www.billviola.com

photos from Chappie Lifetimes

Soph Winning
Martyn and Sam
Gals getting ready
Babes

Just wanted to pop these on to explain my life and times...

'Ello darling

So, it's been a couple of months since I ventured into McGill-does-the-world. Which, more and more I hate the title of. Epitome of me at my cheesiness, which maybe is a good thing, who knows.

I am in Melbourne. Another country. So like Wellington, the weather is temperamental at best. I'm sitting in my Aunty Nicole's dining room, having my 2nd coffee of the day and listening to Ladyhawke's 'Delirium.'

I've chosen to write because I've just finished a show, and about to embark on a new one, and I think it's the perfect opportunity while I've got room to breathe to reflect and generate and keep my education alive. Because, that's the only way that someone like me gets any better. As much as it irritates me in some ways, I suspect I will be one of those actresses who blooms later in life. My gritty roles and successes may well come a bit later. At this time, I have to do all I can to work towards that time and enjoy life. Not get worried about things.

I got offered the first audition I've had for screen in over 6 months. It was for a TV series for toddlers - 'Giggles.' When I watched the tapes of the previous seasons, my first thought was 'This is the antithesis of what I've been taught for screen acting" and my second was "do I want to be cast in a kids show" Now - these seem like nego thoughts but I was thinking about what the learning would be in it. I turned up there with some wings, and a wand. Walked into the Gibson Group offices, party decorations up for their xmas party, and nerves washed over me

and I remembered back to when I auditioned for drama school the first time and my Mum (thankfully in the end) intervened and I wasn't featured in the GG doco. There's been a part of me that has always wondered whether that has affected whether I get auditions or not. Anyway, I was sitting there, a lovely smiley woman said they'd be a few more minutes to set up. So I sat there, got out my diary and wrote down what I needed to do to do a good audition. And then in my brain popped Sophie Roberts' voice. Thank God.

See, I was cast in 'Christ Almighty' - A fundraiser for BATS. Sophie cast me as the Angel Gabrielle - 2nd monologue in. Has a fight with her boyfriend 'God'

I had many an idea for this - playing her as all the Oscar Winners I could think of (would've been interesting) - having her as a South Afrikaan Footballers Wife - and... A Frida Kahlo-esq/Penelope Cruz Spaniard.

The latter was the one decided on. We were asked to learn lines before rehearsals started. I barely made a dent in them for my first one. I was furious with myself. Because, it slows one down, it doesn't help matters progress and I was working with Soph - a friend - but also an artist I really respect. She wasn't angry or nothing. It was a personal standards thing.

So the next couple of rehearsals, I progressed. I worked on building the character up. And I don't know why this happens. But I feel like every time I've got a new project, it takes me a couple of weeks to remember that I really enjoy the work on the story, the character, the given circumstances, the text meth, the embodying. And in this instance, I was nervous about being strong in my physicality which - to begin with - made me really sad. Because in Steamboat, doing a little unpaid community theatre, I was not afraid to make bold choices, and I knew I did a fantastic job with Beatrice, Winifred and Ethel. I was exceptionally confident.

Soph and I talked a little about it, and my final rehearsal with her before our dress, I was owning the stage. Martyn came in and watched and I just had fun and stayed in that long neck, strong torso, strutty physical offer that is reminiscent of my flamenco days.

I went away feeling quite good. The next step was the Chapman Tripp Theatre Awards, and boy, was that week Hellish! I was up to my eyeballs in admin for it. We got to the day, ran around for a bit, I was in charge mainly of looking after the presenters, sitting in the front row and handing out envelopes with the winners in them. Thank sweet biscuits I was not inebriated. I was actually strangely nervous. SO much work had gone into it. But it was great, there were a couple of tooo long speeches. But other than that Peter Hambleton gave a stupendously moving speech, crediting his ma and late father for his work and the support of his whanau making him the artist he is. Then when Soph won, I was so very very proud. She gave a speech that was all her but very clear, succinct and funny. I got a shoutout! 'Angelmine. Help me Rhonda'

Finally, I could breathe a bit when the awards wrapped up (after a bloody stupid offer of soph and I having to sing in the finale. Fail) And we collectively thought the Museum Hotel Chef was a total babe. Mmmm French men...! I digress. Anyway, we had the Ruth Pretty meal. Average at best. And then really got on the turps/dance floor action. After ripping it up to Smokey Feel, we headed over to the Garden Bar/ Club Ivy and ripped it up over there, flirting with everyone, had a joyous time; catching up with, ignoring, wooing people - just generally fun> I have splashes of talking to the Wrays, dirty dancing with Paul Waggott, mimicking Lady Gaga with Jess Sanderson, having glamourous smoking area times with La Roberts and Sam, getting new friends to buy me drinks. You know, generally owning the area! At some ridiculous hour, I had a pashfest with a childhood friend who wanted me to go with home with him. Thank goodness i didn't follow through. Awkkkkward. Especially considering I often work with one of his parents... Fail. Epic fail.

Anyway, I made my way back to the hotel, to find Soph, Branwen and a couple of Musos drinking the minibar dry. Ahhh! I refused to pay for it. I think, however, I have. Punch.

At about 7am we all leapt over the road, to the beautiful xmas tree Rob McHotty Larsen design and jumped on the beanbags. As Sophie leapt into the fold, we heard a squelch, a squeal -upon removing said beanbag, there was a homeless man beneath sleeping.

So, we had a virtually no sleep. The next day was spent watching dvds at the Hambleton's - and the next day (getting to the point, finally) was my opening night of 'Christ Almighty' and I felt wretched. Very ill, with an incredibly sore neck. We had a dress rehearsal and I felt shocker. I said to Soph as much, I needed to preserve energy. Which was fine, but I got in front of my cast for the run and it. was. shit. I mean, truly appalling. I was under-energized - ok, knew that would happen, - but I was terrified. I mean, I was not standing behind any of my choices. It was the strange sensation of feeling kind of numb on stage. Sophie gave me a rark up. And these words will stay with me for some time I believe. 'You have to come out with the energy of someone who doesn't give a fuck what anyone thinks. You have to find where ever your confidence lies and bring that energy on stage from beginning to end' So.... That's it actually. That's the key beneath me doing a strong performance and a mediocre one. Not apologizing for my work. And I tell you what, I succeeded. Every night, I gave myself a new focus, and I enjoyed the freedom of enjoying the stage, the space, the connection with the audience. The challenge if the Innkeeper didn't quite get the audience understanding the contract between us and them, to do that job as well as my own. And you know, there were people that LOVED it and people that were indifferent but that's OK. I felt like I did sexy, provocative work and was strong in that. And, you know what, not everyone likes what I do. I just have to remain confident. And make an offer. A strong offer. Because I fail otherwise. I fall when my offers are not backed up.

So, a Spanish accent, some Spanish text and strong physical offers made me a force to be reckoned with. Tres proud of self.

Me as Angel Gabrielle

So, building to my point. I gave myself a talking to in the Gibson Group waiting room. I said 'just be confident, you may need to go bigger to then go smaller. Make an offer or three'

...

Yesterday afternoon, trudging around Chapel Street with Mam and Nicky.

I found out I got the 'Giggles' job. So there you go. It may not be my dream job. But I am honoured. And I surprised myself.

New York Baby. It's one helluva town

Leaving the Big Apple today, hungover red rover. There was nostalgia. There was amusement. There was hope. And there was a bit of emotion. Because these 3 months have changed me. I'm not sure to what extent quite yet but things have definitely shifted in all aspects of my life. And in a lot of areas, I am re-prioritizing, having a look with fresh eyes.

My last day was spent at rehearsal. And what a great rehearsal to end this leg of my journey with Tectonic.

We worked TLP's 1st and 3rd acts. Great arcs for Kelli's/my characters so I felt really good on ending on that work. I got to play, because with Leigh directing, I feel I can play a little more. And I knew they weren't gonna hold me back on my last day!

Accessing emotion is something I've become very interested in. Everytime certain actors read or act certain texts, myself and usually most of the cast are deeply hit with emotion - with tears. Greg, when he does Rulon Stacey - there is a rawness that I don't think most actors would retain after performing the same role for 10 years. It's quite incredible, the deep set connection.

Similarly for me, when I performed certain speeches - and interestingly enough, Kelli would do this to - I would get choked up 'in character' at the text.

This is a weird and wonderful thing, but one has to be incredibly careful that we're not bashing the audience over the head with grief. They can feel the grief sure, but too much of the actors doing it and it becomes a bit redundant. A bit gratuitous.

I actually have to go get on the plane now but will continue this soon as.

As I continue this post, It's now 9am Sunday the 29th of August in Auckland, New Zealand and it's cold!!! A rather good flight. I actually slept about 3 hours which is progress for me. Still, am operating on coffee, not rest. I have encountered a possible glitch though. I was checked in at NYC airport to LA - American Airlines had lost my booking so I had to go through a whole cuffuffle, which was fine. The lady dealing with me was super nice and let me get away with baggage over its limit and sent my baggage straight through to Auckland so I wouldn't be lugging it around. When I got to LA, 6 and a half hours later, I was told to go down to the Qantas shuttle bus. I did. The Helen Clarke-esq Aussie Qantas said I was in the wrong place. But that my flight was literally right upstairs! That I didn't have to change terminals. She checked me in and then I was left with the sleep deprived decision of what to do for 5 and half hours while waiting for my next flight. I decided to purchase a day pass to the Qantas lounge which was great. Meant I could relax, eat, drink, talk and email. Wise decision.

I should probably say that I had got home at 4am after a great night out. Hence epic sleep deprivation. After rehearsal, I went home, took a stab at packing, then rushed out to meet Samone and Darren for dinner and drinks at my fav NYC place Shalel - Moroccan delight. They paid for all which was super great coz the cocktails I was ordering did not come cheap! We talked theatre then I nipped home to do most of packing and met Katie and J in the Meatpacking district. Actually, at the SoHo club, which is super exclusive. I was thankful I'd dressed in my Jackie O ensemble so I fitted in. I also had recently got rid of my gawdy brown satchel which was inhibiting entry to such places!!!! A nice black handbag for $10.

Anyway, we had some lovely drinks there - J forking out for everything. He did all night actually. Even $20 for my cab back to Upper West. We then went to Kiss'n'Fly. A really pretentious (in that they don't let people in, pretending they're full etc if they don't look the part or don't have the monies) but very fun, good dance music sort of place. I loved it coz I danced up a storm and got attention from beautiful foreigners. An attractive Frenchman named Phillipe and a hot, but insane Dutchy. I forget his name. But there was the most frightening thing: Without warning, they high speed gun sprayed the room with dry ice, which was cold, and you couldn't see, it was just white, bright. Now, granted, I was tipsy, but I seriously thought the place had been bombed. I went down to the floor and stayed there until it stopped. I don't know why club owners do such things. Unique selling point my foot.

Anyway, we then went to a dingy 80s disco and then to Ella's, where I disgraced myself last time. But the dance floor was not happening, so Katie and I made our own one and I got talking to this total babe from Philly. But then the hour of dawn was upon us. The others wanted to karaoke, but I was wise and made tracks. In the morn, Olivia shouted me brunch. Was lovely. Even though we both felt the burn of the night before. Amusing event happened; an unkempt man in a hospital scrubs top and jeans stopped and was talking to two ladies who were eating outside. They clearly knew each other, just not very well, it was a hello, how are you, goodbye, sort of convo. Just as they were wrapping it up, the manager rushes outside and says 'Please don't harass the customers! Shoo!' This man looks dumbfounded and then extremely loudly says 'F**k off you mother f**ker. How dare you! What you're judging me cause of how I look?! I know these ladies.' and continues on. The manager doesn't believe until the ladies pipe up uncertainly that yes they do know him and this whole situation was very embarrassing.

Ok, so back to my travelling. So I get on the plane, it's about 1 or 2am NY time. So I'm tired. I managed to sleep. I watch a couple of movies, the whole trip is tres smooth. Ok, so my predicament is, that the airline never put me through customs in America and I think I have to get my passport taken through to register I've left the country. I went through security and all that jazz, just no customs. I'm going to contact the US embassy in Wgtn first thing tomorrow and take all my documentation in with me and hopefully that'll all be fine. Crossing fingers. I love that country and I don't want to be denied any more awesome holidays!!!!!

Ok, so now I've vented about that, I'll attempt to wrap up some more Tectonic stuff.

After running through and working extensively on parts of TLP. We then started to do a run of TLP:10 as a refresher. The mood wasn't great. We'd come back after a 1.5hour lunch break - everyone was full - they'd taken me out for a HUGE Thai lunch. So nice - and most were not in the mood. It was the most hideous run. Everything was going so badly, we all got the giggles. At the 'interval.' Leigh put everyone on a break. We came back and we were not going to be doing the 2nd half, which I knew made sense but was a bit gutted coz there was a juicy speech I had been working on. But, instead, I'm exceptionally grateful, because - if you've been reading this, you would've noticed I've been harping on about purpose within the work and the lack of it.

WEll, that was the discussion that took place. How there was no cohesiveness in the form of what they'd created and it was acknowledged that it had kinda been a rushed job. Because the play had been written, initially, as a 20 minute play. A tack on to TLP. Then it was full length and made for staged readings - which worked brilliantly and was v successful, because there was a clear form already set up and the script, though wonderful in parts, was still in development. So Leigh then brought the idea to the company - What if the characters were responding to the questions they had asked in Part one? What if we incorporated parts of the TLP text. This grew a level of excitement in the room. There was amazing debate and discussion on how to make it work for the performers purpose, the piece's purpose and so we can unite the audience and performers. It is all the stuff I'm interested in and was so glad it was addressed. They were all so supportive of Leigh and rewrites. Which is great, because they perform the thing in a couple of weeks and as soon as she said 'rewrites' I got nervous, because I knew the actors were not loving the subtle rewrites of scenes. But this is working towards the greater good so EVERYONE was on board.

So here is where the play lies now. Where I left it:

It is going to echo TLP: Part One. A reprisal. We have to teach the audience the form at the beginning so it can stand alone as a piece - not just as a tag-on to TLP. And doing this by fixing it theatrically

The reason it is being done is that events/moments like this one - the questions, events and consequences surrounding Matthew Shepard's murder - makes, for everyone connected with it (close and far,) fly in the face of who you think you are. Like 9/11, like natural disasters, like sicknesses.

Zubaida Ula has a speech in TLP 1 - about how WE are, how we need to own our mistakes. "We are LIKE this. We ARE like this. WE are LIKE THIS." So we try to answer that and ask new questions with 10 years perspective.

New questions:

WHAT IS AN ANNIVERSARY?

HOW DO YOU CELEBRATE THEM?

HOW DO WE RECLAIM IDENTITY?

HOW CAN WE THEATRICALIZE HOW THE CHARACTERS HAVE CHANGED IN THE LAST 10 YEARS?

The form of reprisal. About time passing.

So exciting.

As they were wrapping up, I asked if I could say a few words. I got up and spoke with purpose, clarity and strength. No wombliness.

I spoke to what they ahd just been talking about and how I strive for that sense of purpose in all my work. I spoke to how I've learnt so much from them, I'm still in the process of figuring out exactly what I'd learnt, I spoke to how working with them on stage was a terrific gift that I am so grateful for, that they gave me generosity and opportunity. And I spoke to The Laramie Project. And how a piece of work can be so engaging 10 years on. And how it can touch someone in New Zealand, enough to fly across the world and volunteer for free with them.

This has been the most educational holiday and has affected me and changed me. I don't know how much yet.

It was hard financially, I worked hard before I left NZ but America is an expensive place... but totally worth it. I got to experience America in a unique way. Through the eyes of artists in Steamboat Springs, Colorado and in New York City. I got to see small town vs large city. I met beautiful people from all walks of life. And I feel all the more richer for it.

As I finish this paragraph, I am sitting in my mother's sitting room in Owhiro Bay, Wellington. It is stormy, cold, elemental. The sea is crashing on the shore. The chimney is whistling from the wind. BBC is showing Barack Obama in his tribute to the anniversary of Hurricane Katrina.

Thank God for opportunities. Thank friends and family for support. And I thank myself for doing it all, and making sure it happens.

New York stylings

My fellow intern Darren 'Husband' Johnston
Artistry
Me acting for Tectonic
Me trying to impersonate someone and failing miserably
Olivia, lovely room mate and myself. Hungover on last morning in NY - for this time anyway

Beautiful ChurchIn the cab
Found this online. Haha HIDEOUS of me
In the Frick

More artistryYellow Calvin Klein - The Katies
Empire State on a BEEYOOTIFUL day
in the Beemer
World Trade Center
Dancing in the street

And then a tad more...

ON THE STATEN ISLAND FERRY

Hot sea salt from the New York Summer

The crowds, backpacks, cameras and kids

I forcefully ignore

My head is full to the brim with romance

and lost romance

and potential romance

and not always of the romantic variety

A bum said to me on the street today

'Don't let the bright lights of the Big Apple damper your inner shine'

Quite. I wont. But first, transgressions...

This skyline is magic, but no Owhiro Bay on a clear as crisp as clear day, it's not quite that understated. Or that pure.

Oh - Energy to burn!

But wish for lack of bumpy, tired eyes.

Too much fun

Not enough fun

Miss friends but don't want it to end.

Here she is! Lady Liberty and not for one moment an icon of tourist haunts

A Lady standing tall - Wahine Toa in stars and stripes.

Seems a bit easier now. The hot sea salt and my hair

blowing in the not so common New York Wind

After a shorter day on Saturday - we finished at 5! - we were invited for dinner at Christina Rouner's incredible apartment -Samone and I schlepped out to Brooklyn and had lovely company, wine and food. It was the first time I really got to showcase my wild sense of humour and it was appreciated!!

On Sunday day I went to Roy and Helen's - Mum's friends from long ago, I just took the train out to Brooklyn again and proceeded to get extremely lost but took some AMAZING photos. To be Attached at later time. They are a lovely couple but it was so hilarious, after lunch, I needed to make tracks - I had planned to walk the Brooklyn Bridge but it was raining cats and dogs. So Helen says 'I insist you take an umbrella.' I'm like 'Thank you, that;s lovely' And then she can't find her cheap one to give me, so she says, let's walk down to the shop and I'll get you one. And I say 'no, don't worry about it - I do have a raincoat' and she says 'Nonsense, it's pouring - you must have an umbrella' and this goes on for some time. Finally I give in - just as we're exiting she says 'Oh look , you should probably go with this umbrella, buy yourself one and come back and give us ours back.' ... Well. I was rather put out, as I didn't really want to spend any money, but off I went. The cheapest one was a leopard print one for $10 so I grudgingly got that. When outside, I opened it, and it was childsize - I was livid - I took it back into swap it and they wouldn't so I traipsed up the hill, no dryer than I wouldve been and $10 richer. Ah... que sera sera.

Back in M'Hattan, I met up with Hilary Halba, who specializes in verbatim theatre in NZ. And we had the most interesting convo about tectonic and progressing our own work. It was lovely in the cold to have hot chocolate and coconut cupcakes from the famous Magnolia Bakery and have a TRULY interesting discussion - I think she is going to prove very useful in the development of my verbatim piece.

Then, that evening, I went out to meet Katie for a lovely Italian meal and all round girls night out. We saw 'Eat, Pray, Love' and it was actually a great girly chillout flick. A bit long. But it was filmed in the most appeasing style, lovely colour palettes and music - the costumer designer must not have like Miss Julia because half the outfits she was in made her channel a school marm. Yeesh.

Last night I met up with Missy Ang and had dinner at a wonderful Moroccan place called Shalel on 70th and B'Way - so nice, polenta and salmon and wine. It was great to see how she is approaching her career and - humbly mind - making things happen for herself. It was very inspiring.

I am in the place of rethinking my goals and organising my immediate future. I have realised it is important for me to figure out what I can do in NZ - because it is likely I will have to be home for some time at some point! Looking at prospects.

Notes from rehearsals:

-Motifs - eg the reporters - moments, key indicators to show us who you are.

-In original show, screens descended to aid the feeling of descending. This show is touring on a small budget. How can we create that feeling of descending?

-Comparision in Anna DS works - not about the actor being aware or self conscious of their characterizations. It is about the character's relationship to the STORY not just the characters.

-Making characters identifiable - when you're playing the same archetypal character a lot, there need to be specific indicators for the audience in voice/physicality/breath

-Investigation: keep searching, keep discovery alive. Active rather than passive - some of these actors have been performing these parts for 10 years. They have to re-engage.

-The actor needs to be really in the moment - where does the event happen? In the audiences imagination!

-Leigh was talking about Steven Wong coming into their 1st season's rehearsal and they were having trouble with the homecoming parade scene. And he said - you guys need to do the best acting of your life. You need to really be in the scene. Get the specificity in detail of a cheerleader (say) because the scene NEEDS to be alive for the audience.
-Today they did the angel Action scene which sent chills up my spine. A very well structured - both dramatically and physically/rhythmically scene. But it does make Romaine Pattison a hero and Rev Fred Phelps a villain - which an audience loves. Conflict. However, the premise for the work is giving everyone a voice. And Phelps' voice is judged. Is that correct?

In the sense of the 'show' I say yes. Connecting to the reasons behind the verbatim, I'm not sure.

- Character changes - problem solving - what are the rules? Do we make the audience aware or not?

- Playing the 'drama' not the outcome. The audience know Matt Shepard is dead. We have to keep them chasing us - be wanting to chase us.

Acting with them and learning from them and trying my best not to be upset about coming home by eating my feelings in Pad Thai

Well, what I didn't mention in the last post is alongside the devising process I am part of, I'm also acting with them 3 days a week.

This came about because Kelli, the fantastic actress who is playing Leigh Fondakowski and Romaine Patterson among others, is performing in a show in Chicago on the weekends, so I was asked to fill in and write detailed blocking and acting notes. My notes look like this:

EXCERPT from an email sent to Kelli last week

ACT 1

Up until I next make a note of it, your eyes are focussed on each scene that is going on

Page 1- you now enter and put Rebecca Hilliker's plaid smock on #16 (not the denim jacket) Page 3 - As you say 'Laramie native....' cross over to chairs 5 and 6

Page 5 - After your line 'brown and gold' you have your normal move, but Moises has made a note, he wants everyone to really land/settle here.

Pg 6 - at the end of the scene you now move and stand by chair 19 USR.

Pg 7 - when you and Scott move the chairs, do it more naturalistically. You are moving it more or less to the same place, to the right of 17, behind 18/3. Afterwatds move to behind #2 SL

They have swapped the Reg/Marge and Deb Thomsen Scs around, and Greg has replaced Leigh.

Pg 9 - for the Deb Thomsen sc, look straight out, not at action

Pg 13 - Come DS to R of #9. During this sc, Scott will cross past you, just follow him with your body language(!)

Don't move until after Dave O'Malley finishes his line, and then go and move 4 up a few steps. then move, briskly SL, between 15 and 11

Page 15 - at end of scene, move a couple of steps back

Pg 16/17 - end of sc, move DSC fast, the line at top of 17 is now 'We spoke to Beth Loffred and asked her what events the university was planning to commemorate to 10th anniversary of Matthew Shepard's death" At the end of this line, move 6 and 9 into place (last row, two furthermost DS chairs) and sit as per in middle one #9

Pg 19 - Those lines have swapped again, so you are now saying Greg's first line but not the rest - end of sc take 3 steps back and face US behind chair #6

Pg 21 - at the end of Cathy Cons line 'is going on with Matthew Shepard' sit down in #6 - same seat as before

this has been gruelling and exciting and terrifying, but I've held my own and done various American accents and thought about it as an extended audition, which has been good and meant I've impressed them. And I have. First the Stage Manager pulled me aside and said that they are extremely pleased with me. Then Greg told me I was doing great work and have a great Texas accent, and then Moises and Leigh have said great work, great spirit. Mercedes said Kelli ahd better watch her back...! And then Mark, who I didn't even think liked me thanked me for meeting the standards and giving generously. And these guys are amazing. I wouldn't usually talk myself up so much, but I've come to the belief that the NZ Tall Poppy syndrome needs a good shakeup. We are good at so many things. And I, for one, am personally grateful to feel validated as an actress. I know I'm good. Now I have to work on getting better.

The filling in is gruelling, as I said, because I don't have creative license, I - in the end - am not playing the part. It is someone with completely different qualities, rhythm, body language, etc.

So, I have to get the job done but be tentative as to how I do so. And I feel like such a dork sometimes, with no instincts, because I am actively suppressing them. For instance, blocking is occasionally a problem, because Moises is trying to work very fast, and because I have to take specific notes for Kelli, I have to choose the right moment to pipe in and say 'Excuse me Moises would you like Kelli Upstage right or left?' etc. And that isn't always met with patience. Moises is devising around a script for two weeks only. Then it goes on the road. He is also rehearsing a Broadway show, an operatic and puppeteered Puss'N'Boots. The man, though genius, is clearly - to say busy is an understatement - but yes! Busy! With momentous tasks ahead of him.

Notes from the last couple of weeks:

-Giving a breath, letting the audience sit with information, with climactic points. Music/Transitions - How to give a breath?

-Characterizations - with verbatim one can forget that these people one is representing have personalities, and the fallback is to play it really measured, conversational. Eg Marge Murray is clearly a 'character' - those who interviewed her said she is larger than life. But when the editor/writer puts her next to more subdued characters, the actor can come across OTT. How do I keep the authenticity of the character?

-The actor doesn;t want to play a character one dimensionally - some of these people interviewed came across one dimensionally. Truth versus art.

-Trick of TLP is to let the audience into the story. To be truthful, lots of direct address - there are a lot of events, a lot of real life drama. The trick is not to overshadow the events by 'acting' the drama. In TLP:10, there are no events, not really, so the trick is to create the drama out of the information. To structure it so it is exciting and that we grab the audience.

- A lot of TLP is about grabbing the stage from the other person - often characters are 'answering' each other without directly answering each other. This is so we can build the cacophony of opinion, voice, disagreement, info.

- Because the staging is so simple, any shifts need to be pronounced - we notice everything. We need to read the shifts in beats in the body of the actor.

-Muscle of active listening incredibly important. A lot of direct address, focus changes all the time. Even when not looking at the person speaking, we need to feel the actor listening.

- Vocal energy can sometimes be OTT but grabbing the audience and also vocally ending a scene is so important.

- Even though they are essentially copying blocking from the previous production, it feels incredibly organic. I think this is because of the moment work. 90% of the time there is a strong reason for everything. When there isn't, they change it. Keep working within the form and rules set up. Leigh is also wise as the director to make the actor comfortable and understand why certain shifts need to happen. They only have two weeks and they've found a comprehensive structure that works.

- This is about a hate crime. A lot of people interviewed have an emotional reaction to the events or one event. The challenge for the actor is not to go sentimental on it. I stop listening, And I don't hear the person anymore. I hear an actor making a judgement on the person.

So, I'm learning a lot. And I'm learning about how these two directors work. They may have made this show together, but they have a very different approach. It is probably a bit easier for Leigh as she does not have another production about to go up. But, she is matter of fact, she is interested in the actors process and allows time for the actor to work through something without it becoming indulgent. She is working fast too, but more specifically, and on a script that is well finished. We had a meeting yesterday and there is going to be some time allowed to work on TLP:10 with her, which I reckon will be great. I believe she and Moises make a great team.

Last week was a mild blur. Jam packed cacophony of... stuff
I went to see Morgana O'Reilly's show THE HEIGHT OF THE EIFFEL TOWER which was great I wont harp on about it because I'd been asked to review it for theatreview so you may as well read it - http://www.theatreview.org.nz/reviews/review.php?id=3312
Although I wrote the review after a mega action night out and sent it away telling the editor to change and do whatever he wanted to it - he's fairly onto it - and the result was some spelling mistakes! Not by me! Bit embarrassing.

The night out in question was with Miss Katie West, who is in town for a few weeks, yoga-ing. We met up with some friends of hers who bought everything all night, so we were drinking $25 cocktails and having $50 platters of food, I'm trying to be more food aware on account of frequenting my favourite bagel shop, so I didn't eat much and was crazy silly inebriated. I danced like a hip hop star and became everyone's favourite person at the clubs! Was truly fun but as we got home to Katie's pad around 5 am and then watched movies with some guys till proper morning, I felt hideous.
I cabsied home and wrote the review and notes for Kelli - that took a good four hours and then I languidly walked through Central Park chatting to Alex in the phone then wombled off to the Frick. And wow! What an absolutely divine and gorgeous space. It is so welcoming and calming. I hate museums that you are bustled from room to room but the Frick is almost like a stylish library. You meander along at your own pace and everyone is super quiet. I sat for about half an hour staring at a beautful angel statue by an indoor water garden. I wrote poetry and took pictures, which is not allowed - the photos not the poetry - which I will post in due course. Then, exhausted, I met Olivia and went out to Century 21 in search of my DKNY leather jacket, which I friggin adore. I bought it and what a great purchase - about $200 NZ, but soooo sexy and fabulous. I'll have it for years.
I was so shattered by the end of that whole day, brain-filled excursion, I thought I'd go straight to sleep - but no. The cat - yet again - ruined things with it's yeowling and putting it's ass on my face. I hate it.

On Monday I went to a NZ screenplay reading down in Greenwich Village, which was ace, because I had such a hilarious time getting there; there was a storm, and I hadn't brought a raincoat, there was thunder, lightning and gargantuan amounts of rain. I was soaked. And I didn't really know where I was going, so I got lost and I got very, very wet. Finally I found the theatre. Wine and cheese and a NZ story of working class family set at the time of the -was it 1981? - Springbok Tour. This film has bones. Rochelle Bright, who invited me, wrote it, and she is a clever gal. There was humour, pathos, drama. Great elements of music and imagery incorporated into this already fulsome script. And I think the notes from the reading will only make it better. I caught the train with Missy Ang and Hilary Halba - who I'm meeting up with at the end of the week - and off I went home. Exhausted.

Tuesday, I went to FELA. A triumph of a musical. This is a musical with real life, breath and soul - there are a couple of cheesy moments, but they are earnt. http://felaonbroadway.com/
The lead actor was astonishing - his sheer endurance. The whole show he acts, sings, dances, plays the sax and trumpet all in direct address. 3 hours worth.
The dancers for the most part were the most exciting things I'd seen inhabit a stage in the longest time. Their whole bodies and souls completely being chsucked around the floor. Enjoying, loving what they were doing. There were two dancers however, who proabbaly thought - because they didn't have as much stage time - that people didn't notice that they were barely present in the show. They looked bored. And it really grated me, because here was this ensemble, f***in going for i, giving it their all, and a couple of rogue individuals ruining it and pulling focus. And the story - when I saw them - was not heard or felt.

Ok. I will continue more later because I've been chipping away at this post for a week now on lunch breaks. And you know what? I need a lunch break!

Tectonicing. Not the dance, but the theatre.

I should say outright, there is stuff I cannot and wont write because of protecting the integrity and copyright of the work. Sorry but needs must....

Here we go.

Bamboozled, I turned up early, early 8.30am (actually earlier cause I'm a lickarse) for day one of rehearsal for THE LARAMIE PROJECT and THE LARAMIE PROJECT: 10 YEARS LATER (To be hereby referred to as TLP and TLP:10.)

Tables and chairs were set, bagels and pastries were bought, coffee was on the boil and from 10am, one by one; the cast, crew and director, the brilliant Moises Kauffman began to arrive.

I was nervous, but held my own. I managed to come across with intention, purpose and warmth - yes, I had working questions for how I met these folks. Because, I thought if I didn't, I might embarrass myself...!

I met Leigh Fondakowski, the wonderful writer and lifetime member of Tectonic, some of the actors, Tiffany and Greg from the week before, some producers/partners, and Greg Pierotti, who helped me so influentially with my research paper last year at drama school. He is beautiful, with a warm smile and gave me a great big hug. I'm going to say it, as I'm a week in, he's my favourite, both as a person and how he approaches the work. Humble delight. But more later.

Moises, I didn't get to meet until two o'clock, the opportunity just did not arise. So I thought, I'll prepare something to say. Unfortunately, timing was my enemy and he caught me just as I was being rushed out to do an errand. 'Hi, I'm Moises' he said in his thick Venezuelan accent, smily eyes. 'Hi, I'm Kate, I'm your intern for the month!' I squeaked... slightly too long a pause 'I'm from New Zealand!'... Oh what a dork. Thankfully, he thought it was charming, and I didn't have to speak to him too much that day, so I regained my composure and got on with it.

Day one was brilliant. I am intern to TLP and TLP:10. They have a month to rehearse and then they tour the country. Here are some links to some of their stuff:

www.en.wikipedia.org/wiki/The_Laramie_Project, www.tectonictheaterproject.org/The_Laramie_Project.htm, http://www.youtube.com/watch?v=hgkwl6Zi4VQ, http://www.youtube.com/watch?v=JY_5S8e7BhM&feature=fvw

So, my first morning. They started by doing a table reading of Part 2, TLP:10, which has not been performed yet. And everyone was quick to realize this was not a final edit, and what's more, there is only 2 weeks to rehearse each part. The anxiety was felt, but also the commitment to making it work and making it have a strong, though different purpose from the first part.

The first half of TLP:10 is chuggy, not quite landing, interesting, but it calls for a shift in rhythm. My initial impression was that it was formulaic... it followed a similar structure to TLP #1, and therefore, was almost predictable. The 2nd half however, has it's own arc, and really took me in, made me question my morals and stand points... and how I use these to make theatre.

Tectonic are careful not to put their own opinions on the people they highlight in these documentary works. No judging. The minute we hear the companies voice, the play loses integrity. It's not that they don't have strong opinions - they very much do - and it's not that these aren't important - they are. But by creating a world where the audience gets to choose the protagonist, hear all the stories and pick which they believe, they are opening up a forum for change. I believe anyway. I am reminded of a quote by Robin Soans, I used in my research paper: “The arts are more than mere entertainment... they should also be the vessel which houses the conscience of a nation; ask the difficult questions others would rather leave unasked… so it is left to artists to ask the relevant questions"

I think this is exactly right. This company believes (I think) it is not OK to let hate crimes go unaccounted for, that society has a responsibility to teach our children and each other that race hate, gay hate, any sort of hate of a group is not right. Not to be tolerated. This is something to which I agree wholeheartedly. It is interesting, because, being in Steamboat, I met a lot of republicans, and people who were racist, and/or homophobic . Now, these people are lovely, charming people to me. And they are not going to beat or murder someone because of these feelings. I don't feel like it is my responsibility to 'change' them. It is my responsibility to understand them, perhaps to educate them on my point of view. Perhaps to have them educate me. I am learning about judgement at the moment and how even the smallest slice of it can close me off to potential education. Moises talked on the first day about direct address, and it seems no real emotion is given in the narrator parts, just a factual, direct quality to, obviously, not spoon feed the audience.

BAck to that day; the interesting thing is that 3 of the original cast from part one, are in both shows: Greg P, Mercedes Herrero and Kelli Simpkins, and the rest - some have worked with Moises before - but they're all new, so it was very interesting watching how they inputted into the work. When there are 4 writers in the room, and 6 fresh actors, you do see a little bit of, not power play, but sort of a struggle on maintaining what they've built in this initial draft (Which since has changed at least 5 times) versus the desire to let the actors play. Moises is very much about the actors finding the essence of the scene.

So the afternoon came, and they read part one, TLP, and we were all in tears in parts. It holds so much confusion - when I write that, I mean each person, most of them anyway, who were interviewed, who were in it, so desperate to understand why it happened, how it happened, to understand their own society - and it didn't matter their background or their view, just the sheer necessity to talk, to come to some understanding for themselves. I just think aside from the whole theme and the event, The scary, moving, opinion filled event, TLP really captures a community struggling with their identity as a whole.

When we came to talk about the two works, we talked about the audience's preconceptions and expectations when it comes to viewing the 2nd one. How they might want to view the town in a certain way, or how they want to be transported into Laramie again and be just as moved as in the first play. So, for me, and I wish I said this, the play went all around the world, a lot of people said 'Laramie is just like my town' and this forum, these questions bubbled around the world. It is not just about Laramie anymore, not just about America, for me, it is about seeing how the world has grown and shifted in 10 years through the wonderful vessel of Laramie, Wyoming - through a town that went through some recent suffering. It is not a mere sequel, and I think the minute anyone starts saying, 'I'm in/making the followup' etc (they haven't, I'm just sayin...) the purpose is not clear. The collective purpose is really getting there now, they are at the beginning of week 2, and they are finding their groove as an ensemble and also finding their responsibility to the people's stories they're telling (in a side note, what I wrote about 'Laramie is just like my town' I think the same applies to the characters. People see themselves or others in them, which is part of the beauty of verbatim. Natural. Anyway, I think the more authentic these actors can play each person, the more the audience will dream around them - decide the who I like, who are they like thing)

The wonderful thing that has emerged in TLP:10 is the language of memory. It is 10 years on, and nostalgia, sentimentality, bringing the past into the present and leaving the past behind us are creating a nice wave-like effect of drawing the listener/watcher in. And when it comes to the nitty, gritty - for me - I'm so far in, I'm enraptured.

I am left with the question after the first half - How does the individual vs the community react to a major event?

And it's interesting because, you can tell in the text, the town was weary the next time around, not as friendly, not as willing to share. And once I thought about it, I thought, of course! They have been immortalised in a play. People will probably judge them. Have their opinions on them. A lot of them want to move past what, for some, must be a bad memory. Very engaging.

I'm starting to merge into the rest of the week now... in fact I'm just going to copy a series of notes from my diary. Ha! Let's not make this long winded.

-Moises is not interested in Mimcry, he is interested in history and story (33 Variations and Gross Indecency highlight this)

-The actor characters, who were part of the interview process, help feed in to add dimension to performane

-Is it about personal story or is it about the event?

-Strong curiosity in the room, process of investigation

-Quite like Christian Penny, Moises wants to know what the actor is working with, wants to engage in their process

-How are narratives retold? Form - how do you dramatise something to make it more real. To visualise what the person talking visualised.

-Final hour of day and middle aged actors getting hysterical - glad it's not just me!

-How do we grab the audience? Land the place with them?

- TECTONIC THEATRE PROJ = Liberal Theorists

-Teasing the audience, got to keep them guessing what happened to the town

- "Over the next couple of days we are going to be exploring what this place does. I am still learning" - Moises Kaufman, day 2.

- Moment Work: I begin, Something Happens, I end. Start with one person. No limits. Similar to viewpoints. It is simple. I like it.

-ENCOMIUM - GLowing and enthusiastic praise: the young actress received encomiums from theater critics for her stunning debut

-Creating ritual through frustration - making magic through time constraints.

OK, I actually have to stop. I will write again about moment work and McGill work.

But initial thoughts you have.

Bisous.

Sweet Bird of Youth

Dear blog,

I'm going to condense some stuff and go over it again later because it's been a BIG couple of weeks and I don't know where to start or end. I'm sorry there might not be some specifics. I'll have to fill in later as they come to me.

But I will start at the Mandarin Oriental, where we were put up on night two. GORGEOUS. Can I Say GORGEOUS? Deluxe Suite and a far cry from the urine soaked hostel we had succumbed to for 5 nights, with the creepy man next door, and the weird unexplained guys down stairs.

Emma and turned up in jandals and shorts, unaccustomed to the heat that New York offers. Muggy. We were probably a little shiny from the sweat. One step into the lobby and we realised we'd made a huge mistake, this was the creme de la creme of hotels. Ice Cube, rapper/actor was sitting on a set of couches with his posse. We got into the elevator, both holding our breath. Checked in, and we were led by a charming bellhop to our room. Once inside, we waited for the bellhop's steps to become a mere faint pattering and then we SCREAMED! jumped up and down and giggled for the best part of 30 minutes. We got into our luxury robes and swanned about for a bit, a nap was taken and then we were on our our to transforming from jandal-wearing hicks to Audrey Hepburn-esq strumpletts of New York City.

Downstairs to the bar with sweeping views of Columbus Circle and Manhattan, and we sipped cocktails and sat with the elegance of women with lots of money. We felt very spesh.

A little tipsy, we decided at 7.45 to go to a show. This was met by a flurry of taxi drivers wanting to take these hot babes in their car, in a hurry, probably because we looked like we'd tip well!

We didn't make it, and thus, did not tip well. However, we went for a delightful dinner and drink at this place Off Broadway, and made good friends with the waiter, who gave us some great offers of time spent in NYC... we forgot about him and carried on about our lives...!

We had a little boogie and late night home, the Mandarin, we tootled around and finally slept for hoursssss. Midday came, and we were in the exclusive pool, I had a bath while watching a flat screen television, and then it was time to check out. We were devastated. Especially as the only place with any accommodation left was the hideous urine-soaked Central Park Hostel. We left our bags at the MO and swanned about NY, shopping for Em's relatives and whatnot.

And that night we went to A LITTLE NIGHT MUSIC. A stunning musical, sort of like watching The Seagull, but not hugely depressing, directed by Trevor Nunn and starring Bernadette Peters and Elaine Stritch, and I tell you, there wasn't a greater musical pleasure than seeing Broadway icon Bernadette Peters bust out the show's signature tune 'Send In the Clowns,' transporting artistry was how someone described it - I quite agree - such palpable force. She was just every woman in that room and her standing O was incredibly, definitely, well deserved.

Bernadette Peters

Elaine Stritc

The next day, Em and I went down to Central Park, where we saw the most beautiful young AfricanAmerican chorus sing classical under an awning by the famous angel statue (from Angels in America) and had a lunch and a drink at the Iconic Boathouse, where we pissed off several waiters by asking them to take photos of us (it is very flash, and we saw a few B list celebs - like Pierce Morgan off Xfactor)

It amused us greatly. Then, one of the best things I've done here, is hire a boat and row around the lake in Central Park. SO MUCH FUN. And really very funny trying to get the hang of it. A lot harder than one might think.

Straight after, we hightailed it to SoHO, to meet my cousin Tim, we got stuck on a frozen subway and were about half an hour late, it was not ideal.... A little dinner in Chinatown, delight at the shopping offers and another quick decision to go and see RACE, the new Mamet on Broadway - also directed by him. Now, I think sometimes, especially with a text-intense writer like David Mamet, it is not a good idea - at all - for them to direct the show they wrote. Because they focus so heavily on the text, or their own conceptions of how the show has to look, that there is nothing to rub against it, no tension or contrast. And this show, though well written, was an example of that.

I don't get why Izzard gets so much work. He's OK. But there's nothing really sparkly about him as an actor. He took over from James Spader - now that is someone I would like to have seen - Dennis Haybert and Afton C Williamson, were the only actors warranting a good review, on account of they were playing with levels, they were aware that there needed to be some pull. The other actor was amateur, and one of the most uncomfortable actors I've seen tread the boards in a long while. An informative experience.

Afterwards, we went to a couple of bars and got into great debates about ethics. As one does and off we went on our way.

The next day, I was on my 1st day of interning, which was only to pack boxes, for their big move. But I met Tiffany and Greg, the admins, and the stage Manager Samone. And I got to see all the research Moises had done for 33 Variations - hundreds and hundreds of books and articles about Beethoven and music and rhythm. SO extensive!

That being done, we had a night in.

Erm, the next day we went to SoHO again, to continue the exciting shopping. I bought a ring and a couple of things for pressies. It is so colorful down there, can't help but be blown away by the noises, fashion, food. We were exhausted by the end of that day and sooooo hot.

Our darling friend Katie was coming to town so we went back to our new place (THANKS BE!) on West 71st - so nice - and had a siesta then gussied up for another night out. We Katie and 3 guys - all of whom, in my opinion, were complete eejits - in East Village and danced up a storm in a place called Ella. I was having a delicious time, leaping around to hiphop stylings, but the plan was to go do Karaoke. Now I love Karaoke, but private booths? No fun. The whole point is to make a fool out of yourself! And what's more the guys we were with were so rude. Well I thought so, the gals were having a great time, and I was just pissed off.

4am and we were eating pizza and then bed. I was not in the best of spirits after that experience. Tired and grumpy!

The next day was an hilarious excursion for coffee and waxists in East Village. Not a good idea on a mild hangover and 2 hours sleep. Ridiculously bung would be suffice.

It was pretty lax - I skyped some folks and was busy preparing for my first day of interning. Nervous as all get out. Katie was heading back to Steamboat Monday, so we met up with her and Justin for dinner, at an Indian place close to where we're staying. A lovely meal, nice conversation, and we decide, as it's early, to try a Moroccan bar that had been recommended to me. And then this guy turns up, Justin's friend Randy, who's a nice dude, very amusing and intelligent, not like the other doofheads we'd met the other night, and we got on like a house on fire, so another new friend made. Yay!

Early night. And TECTONIC...

First I'll just fill in the evenings because the week was SO FRIGGIN HUGE!

Monday night - Emma picked me up, took me for a Mojito, she bought some great fake Prada/Gucci bags for presents and then we waited for 2 hours to get into the Empire State Building - which i had done before, but not at night. It was stunning. Windy, elemental, sparkly, delightful. We laughed our heads off at goofy tourists and a Late night dinner of pizza and home time.

Tuesday night - we went on a random outing far down East Village, because we had been told there were great bars there. We got the wrong train and ended up at Kiss and Fly, and some other high name NY clubs. We didn't really want to pay for drinks, so we headed in a cab into the right direction where I got in a foul mood, because everywhere appeared to be shut. Finally we found this one place that Olivia (my room mate) recommended, and these nice Wall St guys bought us a cocktail each and after a little chat we headed home.

Wednesday night - Emma's last. BOOOOOO!!!

I met her on the outskirts of Central Park, she had bought bits and bobs and wine from Grand Central Markets for a picnic. I got dressed up. And we sat, as the sun went down, nibbling, laughing reading and chatting and having a lovely time. This is one of my favourite memories. Sitting on the grass with Em, taking panoramic photos and talking about love life, reading The Laramie Project, talking about the craft of acting and how much we appreciate each other as friends and colleagues. Will never forget it.

Unfortunately, we made the epic mistake of deciding to go home before going out to Coney Island. We were so sweaty and I had 3 bags. So we had some more wine hung out and got the train. When we got there - AFTER AN HOUR! - IT WAS SHUT! I can't tell you how irritated and furious we were. It was 1am by the time we got back to Manhattan. So we had a little nibble in Times Square and that was Em's last night! I met with her for lunch the next right before she took off, but I was still so glad we had that divine picnic and 2 and a half months of amazing memories. I have found a very good friend. Someone trustworthy and generous and funny as hell. Very lucky.

Thurs night uneventful - I was tired and slept!

Friday night was great! I met up with Cuzzy TJ again for a beer then we actually went to Coney Island which was just extremely fun! We got out there, I sung a little rendition of 'Under the Boardwalk' - coz we were and then outside and it is magical! Decrepit. But magical. Tim was on a budget, and afraid of heights... so we only went on a couple of rides, which was fine by me coz they were fab! The swinging ferris wheel gave the most exciting view of sparkly rides, stadiums, the sea. And the hiphop bumper cars. Basically bumper cars, with a HipHop DJ slamming out tunes, with guys dancing around you. I was giggling away and got in heaps of trouble for spinning my car in a circe.

Down on the Boardwalk, there was a group of people dancing, to which I joined. Krumping up a storm in the best way I know how. Tim wasn't keen so I made him hold my bags while I had a time...! In fact I embarrassed him a lot. Very entertaining.

Then for some reason there was an incredible fireworks display on the beach. I was well impressed. Dampened only by some retarded racist girls. I recorded them on film. Little s**ts.

So that's where I'm up to - stay tuned for the Tectonic Edition. I need to go out now and enjoy the sun.

Bisous

Stop! Photo time!

Here's to you New York, New York!

My last day in Steamboat was emotional. We did the last show of COLONISATION, new things were found, and a lot of playing with the audience made a funtasmic show. We had professional photographers there and at least 200 people with... a standing O... Wholly fajitas.

I made a speech tautoko-ing Stuart and the work he has done to make the festival what it is. He is doing something I really believe in, and it is thankless at times, but Oh so worth it. Toi Whakaari E was sung and it was really meant and felt.

Afterwards, we played some frisbee, drank some Bacardi cocktails and packed up.

We were rushed onto the party and I rode in the car with mentioned crush and had a fleeting romantic moment looking out at the sunset. Later in the night, I was brave and told him he was a total babe and that I was gutted to be leaving, which was rewarded with a sweet kiss. Cut short by having to drive off to Denver.... TMI parents? I don't care, I want to read this for myself later! In case my diary goes missing AGAIN!

We had the after party at Anna's - a kiwi and big supporter of the festival - gorgeous food was eaten and speeches were made. Beautiful speeches. Katie stood up and said how much it has been great for her having us there, Stuart said the most moving words, Emma sung, Asa got me crying... and then we all wept for the joy of it for about an hour. Saying goodbye to Alex was especially hard as he has become a dear, dear friend. Only person who has understood my warped sense of humour and got my level of intellect...! and it's reciprocal. He is very crazy and delightful.

Steamboat Springs 2010 - I really don't think I've learnt more or grown up more or felt so useful, as an artist or a woman before.... well at least not in such a short amount of time!

The orange and red sunset crept down the Rocky Mountains and we got into our car and departed. I leant out the window after looking into that boy's stunning eyes for too long and still not enough and started the beginning of Puria Nei, the most heartful song I know. I'm sure I could hear someone else start to finish it as we turned the corner into the black of the night.

The ride was long and we didn't get to Deb's (Stuart's babe-ing girlfriend) house till 2am. Up at 3.30am and we were off on the shuttle to the airport. Not much sleep and two flights later (separate - Emma got Qantas, spare seats and a meal - and I was cramped in on a full American Airline flight with no snacks, nuffing. And what's more, next to a man who would stare at me, fall asleep, then when I needed to go to the bathroom, he would conveniently be asleep himself, making for a 'graceful' climb over him.) We met at JFK got bags, info about hostels then bused into Manhattan. The Central Park Hostel awaited our lumbering selves. 5 flights of stairs in 30 degree heat at 7 at night? Attractive.

So, me: tired, Emma: Sprightly (on account of having slept) we ventured out to Times Square which is so glittery and overwhelming and what I thought Em's first memory of NYC should be. We got wine at a charming wine bar, bought tickets to the worst comedy show in the world - only made interesting by 'being' Mary-Alice and Sharon from Brighton, Sharon is an interior decorator and Mary-Alice is in PR. We left early on and got caricatures in the street. Mine is quite fun, Emma's looks like a distorted version of Jennifer Connolly...!

But, we had a lovely time, tootling around, taking it all in. Getting photos with English sailors, etcetera.

Today, we went out for breakfast on Park Ave, got picnic food for our Central Park visit tomorrow and... arrived at the Mandarin Oriental Hotel. Ice Cube was in the foyer. The whole place is decadent beyond belief. So, we had a glass of wine, some cheese straws and we will go and have a nap, go out for dinner then Broadway and back to these luxurious surroundings.

I officially start my internship Thursday, packing up the offices at Tectonic. They're moving Friday. So, I get to meet the peeps. Nervoussss.

VUNDYFUL!!! xox