I am a loser. Those of you who know me personally are already aware of this fact. And those of you who have read the drivel I’ve been dishing out over the last four years here at the Lemon have probably also arrived at this conclusion as well. Nevertheless, today, I again re-assert and re-pronounce my loser-dom for a brand new reason:
I have been remiss in frequenting the Bootleg Theater.
I know. It’s true. I admit it. Ever since the Evidence Room left the space I must confess that I have rarely attended shows at the renovated and not-so-newly-minted Bootleg Theater.
Well thanks to my attendance last night at Patty Scanlon’s thoroughly engrossing Death of a Salesgirl, I will not be making that egregious error again.
Not only was the show quite wonderful, due to an all-star creative team from top to bottom, starting with Production Manager, Jessica Hanna, writer/performer, Patricia Scanlon, actors, Paul Dillon and Jeremy Mascia, director, Matthew McCray, set and light designer, Francois-Pierre Couture, Projection Designer, Adam Flemming, Sound Designer, John Zalewski, Animator Dan Lund, Costumer, Ariel Boroff, Prop Mistress, Heather Ho and everybody else who worked on this gem, but there was also a kick ass R&B band that played right after the show AND they had a full bar with beer on tap.
Just in case you didn’t hear me, THEY HAD BEER ON TAP!
That alone jostles my joy stick. Ahem. I hear they even have Ladies Arm Wrestling going on over there! And beer on tap! It’s like heaven! Why am I shouting!
While I was there, I also happened to run into the Most Holy One, Steven Leigh Morris and his gaggle of theater students, as well as actor extraordinaire Tim Cummings, stellar writer/performer Roger Guenveur Smith and Foolights mastermind Peter Finlayson. All in the same place! It was like Disneyland! But with beer on tap! I’m doing it again!
Major kudos to everyone involved in the show, but a special shout out to director, Matt McCray. I have always been a fan of Matt’s work, his dazzling style on stage and his unique collaborations with his designers and actors – mostly over at his regular home Son of Semele - have always been truly original, but for me, he has often sacrificed an emotional center in his work in order to achieve a cerebral effect, an effect that almost always works by the way. But not so in Death of a Salesgirl. Here he achieves both, and more. Obviously, much of the credit must go to Patty Scanlon – I’m sure Matt would admit the same – but it takes both a subtle and strong hand to guide all parties towards the emotional, cerebral and visceral effect that I experienced last night.
This is good stuff, folks, go see it if you can. Only running until November 17th.
And to the Bootleg Theater I say (yes, I am now directly addressing a “venue” because as we now know “venues and corporations are people too”), my apologies. Now that we have had our midnight kiss between strangers I will be back for more. Much more. You better be ready. I have the feeling you will be.
Yes, I’m a loser. But now I’m a loser in love with the Bootleg Theater. And that makes me cool.
About the Author: COLIN MITCHELL: Actor/Writer/Director/Producer/Father, award-winning playwright and screenwriter, Broadway veteran, Marvel comics scribe, Van Morrison disciple, Zen-Catholic, a proud U.S. Army Brat conceived in Scotland and born in Frankfurt, Germany, currently living in Los Angeles and doing his best to piss off as many people as possible.