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While we wait…

We’re in a holding pattern on a few things before I write out  the final post-mortem on Messenger No. 4 (and get myself a tattoo) so I’d like to get a jump on our next little thing.

It’s going to be a minute or two until we get back to a full production… though nothing like the break between Orestes and Messenger No. 4. While we’re saving our pennies for whatever the next Major Node in our progression and Will does rewrites on M4, we want to stay active in smaller ways and work with even more folks we’ve never met before.

For those of you who came along at some point later than the winter of 2008 (so – most of you) Cambiare’s initial offering as a stand alone company was Transformations, a design as performance piece based on the poetry of Anne Sexton

IMG_9783-2 and created by like 734 women (Will and I helped). It was pretty good,  it was almost even attended! But other than the reading of Caryl Churchill’s 7 Jewish Children for World Theatre Day we haven’t paid any attention to (the creative output of) women since then.

It’s really not intentional, we’ve been doing original stuff mostly and you’re not part of the team. But we’re gonna get us an education now.

Ladies, we want to read your plays.

Now understand that there’s nothing on the table. Maybe not even a staged reading.  We’re not in a position to make any promises. Our goal is to 1.) be in a more education position when we get to a such a point 2.) be in a position to advocate for capable women writers when friends ask about texts the way I brag about Marisela Orta and Callie Kimball now. 

I understand if that’s not enough payoff for you. I wish you well. But if you like casinos in Oregon smart folks reading your work even if they’re not going to risk ten thousand dollars and a year of their life on it we’d love to hear from you.

We’re going to cap submissions at 50. We all have jobs and we don’t want a dead pile. We will read everything we get.

The Call:

  • We are looking for completed scripts from women of any age.
  • Make it a .pdf (be platform agnostic)
  • No character limit
  • No style limit.
  • No length limit.
  • Send it to Submissions at cambiareproductions.com
  • We make no commitment and neither do you, we won’t do anything other than read your script (and talk about it at Trudy’s) without your permission.

I know this is sort of weird call but.. well.. it can’t hurt to ask.


No good evening out is complete without a quality beverage and the rep productions of Messenger No. 4 and the 21 Would-Be Lives of Phineas Hamm featured a partnership with Austin’s own Deep Eddy Vodka to ensure we wouldn’t be lacking.

Those who braved a full night at the Blue Theatre (for both shows) received a complimentary cocktail (or soft drink) and you could also purchase them at the bar.

We had drinks concocted for us (one per show) by long time friends of Cambiare Productions Simon Ogden (The Next Stage, and Veneto in Victoria, BC) and Tony Adams (AD of Halcyon Theatre in Chicago).

Simon Ogden designed what we called the Juicy Apollo for Messenger No. 4:

The Juicy Apollo
2 oz Deep Eddy vodka
2 oz fresh squeezed lemon juice
2 oz Lillet
(white is preferred but red is also tasty and striking in the glass)
2 oz Crème de Cacao (white)
1 oz pasteurized egg white

Throw it all in a shaker with a lot of ice and shake like hell. There is almost nothing to cut the alcohol in this. YOU NEED TO SHAKE IT WITH ICE. I spent three weeks with this drink. Trust me on this. It is tart and a little dry but the Crème de Cacao rounds it off on the tongue and with the frothed egg white really does resemble Simon’s promised lemon meringue.


Tony designed the drink for the 21 Would-Be Lives of Phineas Hamm with director and playwrights dubbed “Phin’s Cup”.

Phin’s Cup
2 Oz Deep Eddy Sweet Tea Vodka
2 Oz Peach Nectar (Kerns or Jumex)
2 Oz Lemonade (we used Simply Lemonade)
Soda Water

This drink is dangerous. I say this with my show closed and no further relationship with Deep Eddy – the Sweet Tea vodka is smooth and tastes almost nothing like alcohol.

Build this in a tumbler, fill it with ice and then add the nectar, lemonade and vodka, fill the glass with soda water (and then drizzle a float of grenadine. Give it a little baby stir and keep reminding yourself that there’s alcohol in the drink or not reminding your wife that there’s alcohol (Hi Megan!)

Also, as you can see, I mixed pitchers of the drink to keep lines moving. A can of peach nectar is just under 12 ounces, so a can of nectar, 12 ounces of lemonade, and 12 ounces of vodka is one half pitcher. Then add the soda and grenadine on a per glass basis. DO NOT DRINK IT STRAIGHT. F’reals. These are sipping drinks not shots.

Thank you so much to our partners in this lil concession adventure. People enjoyed having a delicious adult beverage available to them, and in most cases something they wouldn’t have tried anywhere but at our event. Thank you to Simon, Tony and especially to James at Deep Eddy Vodka for making this perk possible.

After the Curtain


So dawn goes down to day.
Nothing gold can stay.

Forgive a proper New Hampshire boy for default to Robert Frost?

Messenger No. 4 (v 1.0) has been stripped out of the Blue Theatre, rolling chairs have been dispersed, it’s all over but the accounting and I am… surprisingly emotional.

I mentioned to Andy Rodgers just after opening that this show was as unfulfilling as any I’d ever done because I was so divorced from the process. I worked with Will on the script until Draft 3, which he took into rehearsal and then… left.

I wanted this show to be his. I wanted the writer to have his way with a text and not have the constant pressure of outside notes to cloud that. I felt it would be hypocritical to support Will as a writer except for when we were producing his first full length show…

So as we entered the hard production zone I hadn’t seen a run of any kind. I was making props for a show that I didn’t really know (biblically) and a cast I only knew piecemeal, not as an entity. We had a shortened tech period in the space because of the binary nature of this particular presentation and the final dress was a fascinating experiment in transdimensional physics. {please note even with ten actors they cannot be every where at once instantly…}

The downside of relying on open casting calls is that there is little or no continuity in an acting company. There isn’t a core of performers that know that they can trust us, that we will deliver, and that we’re more likely to not sleep for a month at a time rather than ever let them look bad. The upside is that it’s on us to earn that every time out.

The downside is that you never know how a group of people who have largely never worked with one another are going to approach adversity, real adversity, like say a transdimesional physics experiment run amok, until they are actually faced with it.

The upside is that when they grab a beast of a show like Messenger No. 4 and truly make it their own and iron out minor multiplicity and time paradox issues with velcro and spit it’s transcendent. This cast never stopped working to improve the show, to figure out new bits, or to make each other laugh.


Spending three weeks open with a show you enjoy is a great way to get to know a group of people and I have to say I’m gonna miss these goofy bastards.