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Saturday, June 22, 2002

Prepare to Meet Your Maker, the surrealist musical mystery play, had its 29th performance, its history documented elsewhere on the cinemavii.com site. We performed the fifth of its six performances at the WAH Center, last night.

The Twenty-Ninth Performance of Prepare to Meet Your Maker went well. I participated with Drew Blood; we had taken over for Josh and Jason who dropped out last week, and that is when the phallus in Orin’s display went missing. The whole point of the story is the missing phallus; I mean the Isis Osiris story incorporated into ours.

Audience members included Bruce Brown and Enid, his wife, and Marc Baron and Cinti and her friend Candida, and two Hasidic boys, well garbed, in time for sundown since we began at 8:30.

We’re in the longest days of the year, so sunset couldn’t have been much later here in New York, along the same latitudinal meridian as Barcelona.

Our next performance features me at the piano. Tonight Kenny and Brian performed beautifully, with amazing dynamic variation, with that $200 Yamaha Keyboard, the best around. Please, it’s a quite unreasonably good sounding keyboard. Yamaha electronics have a superior musicality, my prior experience being with the QY10 and the original DX7.

Tony Hightower continues to achieve new heights of drama and entertainment, along with his splendid singing voice, this time as Quasimodo with Meghan Elizabeth Burns. The miracle here is that for the past four performances the originator of the role, Lisa Dery, returned to the role with some perspective and great charm. They both do wonderful unique interpretations.

Lisa Sredniawski (Lisa Shred) took over as Mathilda for Linda Kobylinski (who was needed in Sharon's Putnam which had its run extended at a new theatre.) I was backstage throughout our performance and it was always a pleasure to see Lisa smiling and enjoying herself. Kimberly Mossel continues to keep the show running, and doing a wonderful job as she improves her presentation skills and adjusts to the echo-ey surroundings. Seeing a performance by Laurel Hoffman simply sells you on Laurel Hoffman. Drew Blood, well, I directed the torment of his restlessness upon myself and he was helpful and dynamically unique, as Tyr Throne, the director, could not be there this evening.

Petris came by this evening; he's the Finnish director with plans to do a play about a boy named Lionheart. We look forward to seeing more from him.

The WAH Center third floor is resonant, wet, I believe, is the term, and naturally so, so it sounds great. The cast has learned to adjust. Rene Moreno, the artist who is often there at the Center, ran lights and even held a beautiful umbrella over Laurel and Lisa as they performed the Pokida/Samama scene.