I *swear* I'm publishing this time!

I've been thinking about this blog again. I haven't touched it in nearly a year. The last post concerned the KC Improv Festival 2010, and now we're between weekends of Festival 11. I looked at the summary page, and saw about four unfinished entries. And I thought to myself, "I started writing these for a reason."

So, those will get finished - but first, a few thoughts of right now:

Every year around Festival time, the Improv Community manifests itself as a living thing that wants to move forward, strengthen the form, gain a stronger presence as part of the entertainment/art/thingstodo scene. Maybe even create a few viable careers. But after a few weeks, a couple months, it seems (to me, with a very distanced perspective) to revert to a handful of strong voices struggling for control of discord rather than allowing harmony to emerge.

This year feels different. I can't say exactly why; it's mostly based on intangibles. Some of it is a sort of magnetic comfort I didn't expect from this weekend, muscle memory of being part of something larger and liking it. It's reinforced by a dose of Jill Bernard's affection for the KC scene, and Jonathan Pitts' astute observations. They're from cities where Things Are Happening. Surges of activity in the past - I wasn't involved, but historically, I'd look to the early Spontaneous Combustion festivals and the formation of the City3 message board - established new levels of prominence, and this year, I think something of that scope is happening.

A lot changes in a year. I got what I needed from a couple years of practicing improv - and a large part of what I needed was a kick in the ass back toward what I'm really good at. Don't get me wrong, it was fun. I love the process, and I miss playing now and then. I'm just not a performer. The part that loves being watched by an audience is missing, but I do share the same love for making a great show with a bunch of like-minded cohorts.

I have my moments, of course. I relish an a vista set change. I enjoy, when it's appropriate and not a fuckup, reminding the audience of the mechanics of the production. (Why, hello, Mr. Brecht. How dear of you to drop in!)

I still have my statements to make, my stories to tell. The stage manager generally doesn't get to do that - and might only get vicarious fulfillment of the creative impulse. In the opera world, which suits my taste for polish and precision, private preparation before the presentation, I'm adding the occasional directing project. Starting small, but it's enough - I'm not seeking international eminence!

So, do look for a few unfinished topics to pop up, and perhaps a more regular report here on what happens behind the scenes of both the productions and my head.