Pin-Up Girls

So I may have mentioned I'm directing this play I wrote. It's called Pin-Up Girls, and it's about life backstage at a burlesque club in 1940s San Fransisco. It's a romantic comedy in the vein of Frank Capra or Howard Hawks; a fast-paced jaunt that tickles your funny bone and tugs at your heart strings.

Here's the postcard:


This has been the best production experience of my life. First, I'm very happy with the script. I know, I'm tooting my own horn, but who cares? I'm usually very self-critical, even when I'm putting on my 'P.T. Barnum' front and declaring from the rooftops how wonderful everything is. I feel that I have outdone myself with this one, and I've raised my own personal bar.

Second, Theatre Unleashed is unparalleled in my experience. The camaraderie and support is family-like! The never ending generosity of my fellows astounds me.

Third, I have designers. Understand, it has felt like the "Andrew Moore Show" the last couple of times at bat. I was very fortunate to work with lighting designer Connie-Lynn Villani on my last couple of shows. But for the most part I've missed the vital interplay of collaboration with honest to God designers. I have that on this show. I have a whole freaking team! And they're all just wonderful artists and people.

Fourth, my cast could not be any better. Pamela blogged about this on Mad Theatrics, and everything she says is true and then some. In my last play, there were a few actors I cast who I considered each one an "ace in the hole." I didn't have to worry about them. I could literally give them their blocking and step away, and they'd turn in excellent performances. In Pin-Up Girls, my entire cast is made up of aces. And they're all so dedicated to the show! It's just incredible to me.

Finally, the stars must have aligned when I met Pamela. She has taken on the role of producer for this show, in addition to her duties as actress, sounding board, and my own personal editor. When I say I'm the luckiest man on earth, it's not just the burlesque dancing or the fact that she's smoking hot; it's stuff like her producing my play. Working with me on it, all the sacrifices she's willing to make, her partnership.

(I say "finally" but there is more I could go on about. The managment at the Avery Schreiber, our theatre for this production is so wonderful. Very giving for people who are just there to take our money and unlock the doors for us. I am pleased beyond words by their hospitality. Linda Fulton is a gem. An absolute gem. Chris Beyond, burlesque photographer extraordinaire, took our postcard pic for us. He's also working with us this weekend on pin-up photos of the cast. He's a terrific guy, and I am honored that he is willing to work with us. I could go on and on!)

We have videos in the works, little preludes to introduce a few of the characters and set the stage for our play. I'll be posting those EVERYWHERE when they are available.

I'm going to end off now by telling you about one of the props I bought for this show, for the astonishingly low price of just under $30:

It's a beautiful, vintage silver trumpet from eBay. It sounds clear as a bell, and the valves are free, and I still can't play it worth a crap. (For those of you who aren't my Mom, I was a lousy trumpet player in the high school marching band my sophomore year.) But hey ... after my play closes, I'll have plenty of time to get back up on that horse.

That's all I have right now. I'm PUMPED about this play, and I am not taking this experience for granted. I am a fortunate guy, to be surrounded by such amazing people!