It's admittedly been a long time between blog posts. I knew this. I was well aware that I had been neglecting what had been a place for introspection, observation, and some good old fashioned blabbering. I did not realize it had been four months. And I had been missing it, had been wanting to creep back in, quietly, as if I'd never left. But as life got busier, this little spot was visited less and less. And I have to admit, it sometimes feels like I am writing for an audience of two, but with none of the true freedom that comes from a small audience, because if you say the wrong thing, you can bet it will somehow get out there, and what had seemed witty or sharp in the moment of writing, would crystallize into its shameful true form, locked in for whatever eternity the web can hold.
Since I posted last, I have created my cabaret show Cathy Dresden: An Old Fashioned Girl, which debuted at The Metropolitan Room in July, and which I am now in the midst of finding a second date for. The show was, by all accounts, pretty successful, and the audiences did pack the Metropolitan, which was a welcome relief.
There are so many decisions to make when you are creating something like this, choosing a date, a director, a costume designer or at least someone to assist with alterations, an accompanist, coming up with a concept, choosing the songs, structuring the evening, writing transitional material/patter and monologues as well as comedic bits and jokes. And so much more. I have always had a bit of a hard time making decisions, tending to agonize over each one before finally pushing the metaphorical "go" button, and now, here I am doing it again. Luckily, the first time, everything came together, as it always seems to. I had an immense amount of support, a terrific producer in Joseph Macchia, an amazing director, Daniel Adams, and an indispensable accompanist/banterer/singer/accordian player in the form of Michael Hicks.
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| (L-R) Michael Hicks, Cathy, Daniel Adams |
I will admit, I worked like a dog on the show for over three months. Every night after work I came home and sat in front of my computer. But for the first time I understood what people said when they write that if you love what you are doing, it doesn't feel like work. Te passion seemed to override all the critical voices for just long enough to get the job done. And then once I (through the combination of fate and of listening to my "gut") chose the right director, he aided in keeping those persistent demons at bay so that we could do the work together, aided by Michael. I cannot overstate the importance, if you ever decide to go on this journey, of choosing the right companions. Without them, I don't know if I could have done it.
And now, not wanting to lose the momentum, and let Cathy go back into the trunk, I'm bringing her back. So, if you were one of those unable to make it to the first show, stay tuned...
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| Michael and Cathy, July 12th at The Metropolitan Room |
