Firstly, I feel I should inform everyone that I've joined another improv group. Two weeks ago, I came home from a longish day at work and Bonnie said, "Do you want to go to an improv rehearsal?"
I thought about it and eventually settled on, "Meh. No thanks."
"Are you sure?"
"Yeah, I'm kinda tired."
"You know, a show will result from this."
"When's the show?"
"Well, then can I just go to the show?"
Then I said, "Wait . . . what are you talking about?"
What was happening was Bonnie was asking if I wanted to perform with some friends of hers from San Diego. What I thought was happening was Bonnie was inviting me to WATCH someone's improv rehearsal, which I had little to no desire in doing. So then I said, "Ohhhhh. Yeah, okay."
So now Bonnie and I are in another improv group called "Shark Attack" with her friends Erin McGathy and Steve Greene and their friend Jason Horton. It was on very short notice, we've already had two shows, and I now feel it's going very well. So now I'm going to begin pestering you to go to them. You're welcome.
In other news, my sister was in a mainstage show at UCI. A mainstage! My sister! Given the glorious validation of being cast in a mainstage show! What that means for anyone who may read this who didn't attend UCI as a Drama major: at UCI there are mainstage shows, there are Stage II's, and there are workshops. Mainstages are either directed by faculty members or grad directors past their first year, are performed in one of the bigger performance spaces, and are given lots of money (relatively lots of money). Stage II's are directed by first year grad directors, performed in two of the four bigger performance spaces, and are given some money. Then there are workshops, which were my main source of performing. Workshops are either directed by undergrad directors or first year grad directors, performed in the eensy weensy Nixon Theatre, and given no money at all, unless you apply for a grant or list your parents as producers. I was only ever cast in workshops, unless you count the time Brian cast me in a Stage II ("Rosencrantz and Guildenstern Are Dead") without my having attended auditions, for a role that had no lines. Thanks, Brian! I loved that show.
So anyway, Tabes was cast in a mainstage called "The Marriage of Miss Hollywood and King Neptune" and I was very proud of her. And I know of no other person who could have played the role. She played a mobster's girlfriend named Lola Gottalotta, had red hair, and wore the silliest of skimpy getups, complete with boobie tassels and a trombone. Think of the trumpet stripper in "Gypsy" and you will have a nearly exact idea of what dear, modest Taylor was trouncing around in, being hilarious and perfect, with a voice that took the word "guttural" and raped it, in a good way. She was wonderful. Sean Spann was also very good. I don't think anyone else could have delivered the lines he had to deal with and been half as delightful. He was playing a fast-talking, gambling addict Hollywood agent in the 1920's. Just ponder the undeliverable lines that he was given. The word "gorgeousity" was used. He nailed it. Jason Vande Brake stole the show, however. He played a flamboyant British actor with delusions of Shakespearean grandeur, currently stuck in a five movie contract to do silent Westerns under the name "Bob 'Whiplash' McCoy." He was hilarious, possibly brilliant. Amazingly, I lavish all this praise while condemning the direction as terrible.
I didn't exactly mean for that to turn into a review. I just wanted to say that Taylor was great and that I had a great time watching her.