stew sez

during last night’s acid trip (the one in the play i mean, silly) Chad taught me so much about the character Terry that I never knew…stuff I will either be applying to later versions of this play…or simply stuff for me to clock and apply elsewhere…what I’m getting at is I’m seeing how the writing process is now working in reverse…Chad is revealing aspects of Terry that writing alone could not know…and of course all the actors are doing this…for old theater hands this insight is as old hat as saying “break a leg” but for me it’s continually astonishing…in one way it’s nothing new cuz since I began working with actors I’ve always written for their particular voices…but those situations were strictly workshop/rehearsal…doing it live makes it as real as biscuits…Thank you, Mr. Goodridge…

met a large table full of super cool people last night (at the burger joint on uni and milvia that i can never remember the name of even though i go their practically every other day)…they had just seen passing strange. and since they weren’t demanding their money back I agreed to join them.

One of them was an OG TNP fan and that’s always cool. For me, every fan is a board member of the anarchist shadow corporation known as TNP/STEW which operates on the dirty DL. We’ve never had a giant media company (or even a small one) force feeding us into the public’s consciousness. We’ve been under the radar since day one and it’s been working out just fine. People who have no idea how little this silly media game has to do with art keep saying “Whoa, you guys are on the cover of the LA Times Calendar section! You guys are about to make it!” And me and Heidi just laugh into our mojitoes. I “made it” when I was 17 years old on the day I decided to be an artist.
/s
ps: I’ve had a Rolls Royce on lay-away now for 28 years. I’ll be picking up when I’m 90. By then maybe I will have learned how to drive.