music
Nervousness has suddenly hit me and I'm about to pass out. I'm going to have to do this weird acting thing this weekend, and as I was just telling a friend, I'm afraid of falling off the stage or completely blanking out or accidentally coming out naked. Any number of mishaps could happen! Think about it! The fun starts tomorrow. If you decide last minute that you want to witness the humiliation and you haven't reserved a ticket yet, you could still just show up and pay at the door.
To get my mind off of it, I'm looking at music. Seattle's very own Death Cab for Cutie is coming back to Japan. They were only just here in September, weren't they? I admit I'm not a huge fan, but they're a great distraction and I feel a need to make up for all the gigs I missed on account of Proof rehearsals. And maybe they'll do some of their earlier stuff! That would make you feel warm and fuzzy, wouldn't it?
They'll be at Shibuya Club Quattro [map] on 15 March. Doors open at 6 p.m., show starts at 7 p.m. and tickets are 5500 yen, including one drink. They sold out really quickly last time, so you might want to take note that tickets for this concert go on sale starting 14 February. [p-code: 165-383] (Unless, of course, you don't care, in which case forget I said anything.)
Thursday, January 29, 2004
Friday, January 23, 2004
Uplink Documentaries 2
film
A continuation of those Uplink Gallery films from the previous post.
Program B
(February 4, 6, 8, 10)
From the Journals of Jean Seberg
Obviously I haven't seen this one yet, but the fact that someone is playing the role of the subject of this documentary...gives me pause. Then again, what gullible soul would assume that all documentaries are purely non-fiction? Mark Rappaport gives us his interpretation of the life of actress Jean Seberg (star of Jean Luc Godard's "Breathless") as "explained through the films she's in, which, he suggests, is inextricably linked to the men she loved, which is inextricably linked to the times she was living in, the political role she chose to play, and the other actresses whose careers ran parallel to hers." It's much the same thing he did with his film "Rock Hudson's Home Movies": showing the audience film images and presenting his own interpretations. Roger Ebert points out, "Rappaport [is] doing to Seberg what the other boys did, photographing a girl and turning it to his own purposes. But at least he's on her side."
Time: 12:15-1:55 p.m.
Jean Seberg: American Actress
That same year, Donatello and Fosco Dubini came out with this more traditional biography in Germany, using film clips, private interviews, press photos and phone conversations. The Lorcano Official Catalogue calls it "the tragedy of a woman who, caught in the cogwheels of the motion picture industry, could no longer tell fiction and reality apart," leaving me to think that the previous film is more clever than I originally gave it credit for.
Time: 2:10-3:25 p.m.
Erotica: A Journey Into Female Sexuality
In Maya Gallus's film "women talk about what turns them on, and it's not just 'cuddling,' despite all those letters to the advice columnists" (SF Chronicle). Gallus scores interviews with Dominique Aury (aka Pauline Reage), the author of The Story of O, Jeanne De Berg, a 60 year-old author and dominatrix, Alina Reyes, an erotica novelist, and Bettina Rheims, the photographer of a book of nudes of "average women," among eleven interviewees in all. "The female response is the way society evolves. There is a response to feminism, to the sexual revolution, to expressive elements in society that still exist," Gallus says of female sexuality in art. "It is important that it is not the definitive film of women and erotica. I see it as opening the door to discussion."
Time: 3:60-5:10 p.m. (and 7-8:20 p.m. on and after the 6th)
Modulations
It's all about techno. I'm...not big on techno. But The New York Times calls this film "an invaluable primer that begins to make sense of a rapidly changing sonic world that in many people's minds is only a grating, intimidating jumble of unwelcome noise." So I guess that, if ever there were a time for me to get into "a grating, intimidating jumble of unwelcome noise" this would be it.
Time: 5:25-6:40 p.m.
A continuation of those Uplink Gallery films from the previous post.
Program B
(February 4, 6, 8, 10)
From the Journals of Jean Seberg
Obviously I haven't seen this one yet, but the fact that someone is playing the role of the subject of this documentary...gives me pause. Then again, what gullible soul would assume that all documentaries are purely non-fiction? Mark Rappaport gives us his interpretation of the life of actress Jean Seberg (star of Jean Luc Godard's "Breathless") as "explained through the films she's in, which, he suggests, is inextricably linked to the men she loved, which is inextricably linked to the times she was living in, the political role she chose to play, and the other actresses whose careers ran parallel to hers." It's much the same thing he did with his film "Rock Hudson's Home Movies": showing the audience film images and presenting his own interpretations. Roger Ebert points out, "Rappaport [is] doing to Seberg what the other boys did, photographing a girl and turning it to his own purposes. But at least he's on her side."
Time: 12:15-1:55 p.m.
Jean Seberg: American Actress
That same year, Donatello and Fosco Dubini came out with this more traditional biography in Germany, using film clips, private interviews, press photos and phone conversations. The Lorcano Official Catalogue calls it "the tragedy of a woman who, caught in the cogwheels of the motion picture industry, could no longer tell fiction and reality apart," leaving me to think that the previous film is more clever than I originally gave it credit for.
Time: 2:10-3:25 p.m.
Erotica: A Journey Into Female Sexuality
In Maya Gallus's film "women talk about what turns them on, and it's not just 'cuddling,' despite all those letters to the advice columnists" (SF Chronicle). Gallus scores interviews with Dominique Aury (aka Pauline Reage), the author of The Story of O, Jeanne De Berg, a 60 year-old author and dominatrix, Alina Reyes, an erotica novelist, and Bettina Rheims, the photographer of a book of nudes of "average women," among eleven interviewees in all. "The female response is the way society evolves. There is a response to feminism, to the sexual revolution, to expressive elements in society that still exist," Gallus says of female sexuality in art. "It is important that it is not the definitive film of women and erotica. I see it as opening the door to discussion."
Time: 3:60-5:10 p.m. (and 7-8:20 p.m. on and after the 6th)
Modulations
It's all about techno. I'm...not big on techno. But The New York Times calls this film "an invaluable primer that begins to make sense of a rapidly changing sonic world that in many people's minds is only a grating, intimidating jumble of unwelcome noise." So I guess that, if ever there were a time for me to get into "a grating, intimidating jumble of unwelcome noise" this would be it.
Time: 5:25-6:40 p.m.
Wednesday, January 21, 2004
Uplink Documentaries
film
From the 3rd to the 11th of February, Uplink Gallery in Waseda Tsurumakicho [map] will be featuring eight documentaries to screen (at scheduled times) or to view via iBOOK and headphones at any time during the gallery's open hours (one or two viewers at a time, excluding the Joe Coleman film). And all for the price of at least one drink from their cafe.
Films are as follows.
Program A
(February 3, 5, 7, 9, 11)
Let It Come Down: The Life of Paul Bowles
A film by Canadian filmmaker Jennifer Baichwal about the writer of Sheltering Sky. "Highlights of the film include exclusive footage of the last meeting of Bowles, William Burroughs and Allen Ginsberg in New York; footage of Bowles translating Moroccan storyteller Mohammed Mrabet; the first and only film appearance of his wife Jane Bowles' lover, Cherifa, who is rumored to have poisoned Jane to death; detailed treatment of Bowles' work as a composer; and readings of Bowles' magnificent and poetic work."
Time: 12:15-1:30 p.m. (and 7-8:15 p.m. on and after the 7th)
A Tickle in the Heart
"Shot in beautiful black and white, A Tickle in the Heart is a stunning, cinematic documentary that depicts the semi-retired lives of The Epstein Brothers, the 'Kings of Klezmer Music.'" Filmmaker Stefan Schwietert follows the brothers from "America's retirement paradise" in Florida to renewed international success and an invitation to play in Berlin. "...a uniquely American story that has the elegant, polished feel of a European art film. It honors the incredible Epsteins with the kind of wide-eyed admiration they deserve." [SFJFF]
Time: 1:45-3:10 p.m.
R.I.P., Rest in Pieces: A Portrait of Joe Coleman
"...documents the life and passion of Joe Coleman, a nice, idealistic Catholic boy who survived a surreal, twisted upbringing surrounded by love and violence, and eventually settled on becoming an artist after abandoning early dreams of mass murder....The film follows Joe through deserted New York City streets, an autopsy room in Budapest and live performances where he blows himself up with dynamite. Director Robert Pejo pieces together a portrait of his subject through interviews with Joe, his therapist, ex-lovers, his publisher and the filmmaker Jim Jarmusch. Pejo delves into the intimate folds of Coleman's bizarre personal life, taking his camera into the artist's home to film his family—photographer wife Whitney Ward and the couple's adopted son 'Junior,' a deformed baby preserved inside a jar of formaldehyde." Huh.
Time: 3:25-5 p.m.
Der Weg nach Eden
Another one by Pejo. "It's an intimate look at the life and work of a certain Janus Keseru...a mortician and pathologist working in a hospital in Budapest where elderly, terminally ill patients spend their last few weeks...Keseru saws, drills and chops, peels back skin and looks under eyelids, in his bid to work out why any given body stopped functioning. Once he has finished pulling a corpse apart, he puts it together again so it can be displayed during the funeral." Two things. One: Ewwwww. And two: Neat! Morbid curiosity might pull me to this one.
Time: 5:10-6:45 p.m.
I'll continue with Program B tomorrow. (The time-sucker is trying to figure out the original names under which these films were released.) In the meantime, you can read all about it in Japanese.
From the 3rd to the 11th of February, Uplink Gallery in Waseda Tsurumakicho [map] will be featuring eight documentaries to screen (at scheduled times) or to view via iBOOK and headphones at any time during the gallery's open hours (one or two viewers at a time, excluding the Joe Coleman film). And all for the price of at least one drink from their cafe.
Films are as follows.
Program A
(February 3, 5, 7, 9, 11)
Let It Come Down: The Life of Paul Bowles
A film by Canadian filmmaker Jennifer Baichwal about the writer of Sheltering Sky. "Highlights of the film include exclusive footage of the last meeting of Bowles, William Burroughs and Allen Ginsberg in New York; footage of Bowles translating Moroccan storyteller Mohammed Mrabet; the first and only film appearance of his wife Jane Bowles' lover, Cherifa, who is rumored to have poisoned Jane to death; detailed treatment of Bowles' work as a composer; and readings of Bowles' magnificent and poetic work."
Time: 12:15-1:30 p.m. (and 7-8:15 p.m. on and after the 7th)
A Tickle in the Heart
"Shot in beautiful black and white, A Tickle in the Heart is a stunning, cinematic documentary that depicts the semi-retired lives of The Epstein Brothers, the 'Kings of Klezmer Music.'" Filmmaker Stefan Schwietert follows the brothers from "America's retirement paradise" in Florida to renewed international success and an invitation to play in Berlin. "...a uniquely American story that has the elegant, polished feel of a European art film. It honors the incredible Epsteins with the kind of wide-eyed admiration they deserve." [SFJFF]
Time: 1:45-3:10 p.m.
R.I.P., Rest in Pieces: A Portrait of Joe Coleman
"...documents the life and passion of Joe Coleman, a nice, idealistic Catholic boy who survived a surreal, twisted upbringing surrounded by love and violence, and eventually settled on becoming an artist after abandoning early dreams of mass murder....The film follows Joe through deserted New York City streets, an autopsy room in Budapest and live performances where he blows himself up with dynamite. Director Robert Pejo pieces together a portrait of his subject through interviews with Joe, his therapist, ex-lovers, his publisher and the filmmaker Jim Jarmusch. Pejo delves into the intimate folds of Coleman's bizarre personal life, taking his camera into the artist's home to film his family—photographer wife Whitney Ward and the couple's adopted son 'Junior,' a deformed baby preserved inside a jar of formaldehyde." Huh.
Time: 3:25-5 p.m.
Der Weg nach Eden
Another one by Pejo. "It's an intimate look at the life and work of a certain Janus Keseru...a mortician and pathologist working in a hospital in Budapest where elderly, terminally ill patients spend their last few weeks...Keseru saws, drills and chops, peels back skin and looks under eyelids, in his bid to work out why any given body stopped functioning. Once he has finished pulling a corpse apart, he puts it together again so it can be displayed during the funeral." Two things. One: Ewwwww. And two: Neat! Morbid curiosity might pull me to this one.
Time: 5:10-6:45 p.m.
I'll continue with Program B tomorrow. (The time-sucker is trying to figure out the original names under which these films were released.) In the meantime, you can read all about it in Japanese.
Monday, January 19, 2004
Proof
theatre
I may as well come out with it now: Proof.
The winner of the Pulitzer Prize and numerous Tony Awards in 2001 (even beating out Tom Stoppard's The Invention of Love for best play), Proof received raves from the New York rags and some mixed reviews from London. At best, it's been called masterly, compelling and brilliant. At worst? Patronizing and derivative. Yet I can't help but wonder if the pans were a sort of backlash from all the hype of an American play with a Hollywood star invading the London stage. I'd say it's just a good show in the same way that "Blair Witch Project" was a good movie to anyone who saw it before all those reviews came out and made people feel dirty for liking it.
It quickly became known as "the math play," but there's no real math in it. It doesn't make you "feel smart" like Copenhagen or "in the know" like Wit. At its heart, it's just a family drama about intelligent people (intelligent people who misuse words like "mutual"—one of my peeves—but intelligent nonetheless). And, let's face it, it's not often that Tokyo International Players will take a chance on a play like this. It's small, a bit obscure to the masses, and we say "fuck" a lot. There are worries that it won't draw enough of a crowd. So if you've ever complained that TIP has gone too mainstream with shows that have been done-to-death, you might want to take an interest in Proof. I should remind you, though, that instead of Mary Louise Parker, Jennifer Jason Leigh or even Gwyneth Paltrow, you'll be getting me. Sad, eh?
I? Am not luminous.
You may think I'm biased because I'm in it. But I'm feeling less and less that I have a say in what goes on. I can't even pick my costumes, ferchrissake. The headshot of me in the lobby? Even worse than most. You can laugh at my hair if you'd like. And some of the music makes me want to spit. (I complained that Evanescence might send me into a boredom-induced coma, only to be ignored.) So I'm not biased. It has nothing to do with me. In fact, I'd rather people not look at me while I'm onstage.
There will only be four performances of Proof, from 30 January to 1 February (with two shows on the 31st), and tickets can be purchased at the door or reserved through TIP (recommended). If you know me, even only a little bit, you can also buy tickets from me before the 25th. Just send me an e-mail to arrange payment.
Also, there was a recent profile of the director Robert Tsonos in The Japan Times. He looks like a fifteen-year-old boy. In real life too. It's just sick.
I may as well come out with it now: Proof.
The winner of the Pulitzer Prize and numerous Tony Awards in 2001 (even beating out Tom Stoppard's The Invention of Love for best play), Proof received raves from the New York rags and some mixed reviews from London. At best, it's been called masterly, compelling and brilliant. At worst? Patronizing and derivative. Yet I can't help but wonder if the pans were a sort of backlash from all the hype of an American play with a Hollywood star invading the London stage. I'd say it's just a good show in the same way that "Blair Witch Project" was a good movie to anyone who saw it before all those reviews came out and made people feel dirty for liking it.
It quickly became known as "the math play," but there's no real math in it. It doesn't make you "feel smart" like Copenhagen or "in the know" like Wit. At its heart, it's just a family drama about intelligent people (intelligent people who misuse words like "mutual"—one of my peeves—but intelligent nonetheless). And, let's face it, it's not often that Tokyo International Players will take a chance on a play like this. It's small, a bit obscure to the masses, and we say "fuck" a lot. There are worries that it won't draw enough of a crowd. So if you've ever complained that TIP has gone too mainstream with shows that have been done-to-death, you might want to take an interest in Proof. I should remind you, though, that instead of Mary Louise Parker, Jennifer Jason Leigh or even Gwyneth Paltrow, you'll be getting me. Sad, eh?
I? Am not luminous.
You may think I'm biased because I'm in it. But I'm feeling less and less that I have a say in what goes on. I can't even pick my costumes, ferchrissake. The headshot of me in the lobby? Even worse than most. You can laugh at my hair if you'd like. And some of the music makes me want to spit. (I complained that Evanescence might send me into a boredom-induced coma, only to be ignored.) So I'm not biased. It has nothing to do with me. In fact, I'd rather people not look at me while I'm onstage.
There will only be four performances of Proof, from 30 January to 1 February (with two shows on the 31st), and tickets can be purchased at the door or reserved through TIP (recommended). If you know me, even only a little bit, you can also buy tickets from me before the 25th. Just send me an e-mail to arrange payment.
Also, there was a recent profile of the director Robert Tsonos in The Japan Times. He looks like a fifteen-year-old boy. In real life too. It's just sick.
Thursday, January 15, 2004
Salome
opera
Tickets have already gone on sale for the New National Theatre's production of Richard Strauss's Salome. I'm sure you know it.
Due to its scandalous subject matter, Salome shocked Europe when it was first performed in Dresden, in 1905. The scene of Salome kissing the freshly severed head and extraordinarily tense music were so new and sensuous that the opera was prohibited from being performed in various cities, making the name of Richard Strauss known to the world with a peculiar ring.
But in this age of war and gore, can Salome still shock? Well, it can at least make people very very uncomfortable. I saw one production in Shibuya not too long ago that was really fucking raunchy. Here's a mini-review from my super-secret blog.
I always expect the Dance of the Seven Veils to suck because opera singers just can't dance, but this show presented a new low. Quite often, a professional dancer is switched in (the music is so intense that a few half-assed twirls and jazz-hands wouldn't look right), but in this production, the soprano did her own dancing; and she was clumsy, awkward and just bad, bad, bad. The very opposite of seductive, as a matter of fact. Besides which, they only used one veil. Meh.
The singer who played Salome was this tall blond in silver stilettos. I felt sorry for her for having to take her clothes off and do all that crap with the head of Iokanaan. So check this out. You know how, after he's beheaded, she goes on and on with "Let me kiss your lips, Iokanaan! Let me kiss your lips"? Well, she did more than kiss his lips. She stuck the severed head of the prophet between her legs and moved back and forth on it, spasming every once in a while for effect. The head was giving her head. I guess they were trying to make it shocking for our time, and they certainly succeeded. I kept looking around nervously at all the little old ladies in the room, as if they were my grandmothers and they were disapproving. But no one winced. Well, just me.
I'm really selling it, aren't I? Different staging, I'm sure. If it means anything to you, the libretto is really a German translation of Oscar Wilde's play. That's something, eh? And Nordic opera superstar Eva Johansson will be playing Salome as Friedrich Haider conducts.
Salome will be at the New National Theatre Tokyo's Opera House from 27 February to 7 March. Advanced tickets can be purchased by phone (+81-3-5352-9999) or through Pia [p-code: 145-129]. It'll be sung in German with Japanese subtitles, so I recommend you read up on the story first.
Tickets have already gone on sale for the New National Theatre's production of Richard Strauss's Salome. I'm sure you know it.
Due to its scandalous subject matter, Salome shocked Europe when it was first performed in Dresden, in 1905. The scene of Salome kissing the freshly severed head and extraordinarily tense music were so new and sensuous that the opera was prohibited from being performed in various cities, making the name of Richard Strauss known to the world with a peculiar ring.
But in this age of war and gore, can Salome still shock? Well, it can at least make people very very uncomfortable. I saw one production in Shibuya not too long ago that was really fucking raunchy. Here's a mini-review from my super-secret blog.
I always expect the Dance of the Seven Veils to suck because opera singers just can't dance, but this show presented a new low. Quite often, a professional dancer is switched in (the music is so intense that a few half-assed twirls and jazz-hands wouldn't look right), but in this production, the soprano did her own dancing; and she was clumsy, awkward and just bad, bad, bad. The very opposite of seductive, as a matter of fact. Besides which, they only used one veil. Meh.
The singer who played Salome was this tall blond in silver stilettos. I felt sorry for her for having to take her clothes off and do all that crap with the head of Iokanaan. So check this out. You know how, after he's beheaded, she goes on and on with "Let me kiss your lips, Iokanaan! Let me kiss your lips"? Well, she did more than kiss his lips. She stuck the severed head of the prophet between her legs and moved back and forth on it, spasming every once in a while for effect. The head was giving her head. I guess they were trying to make it shocking for our time, and they certainly succeeded. I kept looking around nervously at all the little old ladies in the room, as if they were my grandmothers and they were disapproving. But no one winced. Well, just me.
I'm really selling it, aren't I? Different staging, I'm sure. If it means anything to you, the libretto is really a German translation of Oscar Wilde's play. That's something, eh? And Nordic opera superstar Eva Johansson will be playing Salome as Friedrich Haider conducts.
Salome will be at the New National Theatre Tokyo's Opera House from 27 February to 7 March. Advanced tickets can be purchased by phone (+81-3-5352-9999) or through Pia [p-code: 145-129]. It'll be sung in German with Japanese subtitles, so I recommend you read up on the story first.
Friday, January 09, 2004
Tokyo International Arts Festival - The Eurasia Festival
event
Guestblogged something yesterday at On Gaien Higashi Dori.
Oh, and check this out: the Tokyo International Arts Festival - The Eurasia Festival. From 12 February to 28 March, TIF will be presenting performances by theatre groups and dance troupes from Europe and Asia. This year, there'll be three shows from Middle Eastern theatre companies. And even if you can't understand the Arabic or read the Japanese subtitles, you know "Hamlet," right?
The "Al-Hamlet Summit" takes the familiar characters of Shakespeare's Hamlet and places them inside a conference room in an unnamed Arab State today. This new play is a rewriting of Shakespeare's original that takes an incisive and poetic look at the politics surrounding Arab-West relationships and the continuing cycle of violence in the Middle East.
Neat. ("Neat" is the only word I can think of right now. But I'm sure it's better than neat.)
For English speakers/readers, there will be "Ie-niwa Takai Ki-ga Atta," an acclaimed family drama by Hirosaki Theatre Company of Aomori, and "adrenalin...heart," a thought-provoking romance by The Bush Theatre of the U.K. Also check out their multilingual lectures and presentations for international visitors. I know you're not exactly a "visitor." Just pretend, okay?
Guestblogged something yesterday at On Gaien Higashi Dori.
Oh, and check this out: the Tokyo International Arts Festival - The Eurasia Festival. From 12 February to 28 March, TIF will be presenting performances by theatre groups and dance troupes from Europe and Asia. This year, there'll be three shows from Middle Eastern theatre companies. And even if you can't understand the Arabic or read the Japanese subtitles, you know "Hamlet," right?
The "Al-Hamlet Summit" takes the familiar characters of Shakespeare's Hamlet and places them inside a conference room in an unnamed Arab State today. This new play is a rewriting of Shakespeare's original that takes an incisive and poetic look at the politics surrounding Arab-West relationships and the continuing cycle of violence in the Middle East.
Neat. ("Neat" is the only word I can think of right now. But I'm sure it's better than neat.)
For English speakers/readers, there will be "Ie-niwa Takai Ki-ga Atta," an acclaimed family drama by Hirosaki Theatre Company of Aomori, and "adrenalin...heart," a thought-provoking romance by The Bush Theatre of the U.K. Also check out their multilingual lectures and presentations for international visitors. I know you're not exactly a "visitor." Just pretend, okay?
Monday, January 05, 2004
Casting Call
audition
Happy McNew Year, my pretties. I can't quite recall how I spent New Year's Eve, but it had something to do with smoke, lights and mediocre music. Drinking champagne out of the bottle. Firecrackers. Cab rides. A dark room. Lots of waiting around. First meal of the year? Breakfast at McDonald's. I know. I'm ashamed of myself for supporting The Corporation. Let's hope none of this is portentous of the rest of the year. In the morning, I decided that the idea of New Year's Eve was stupid. Every year people run around trying to make sure they're doing something memorable for the countdown. It's just one moment. What about the rest of my life?
Okay, enough.
I have neither the time nor inclination to think today. Thank goodness for Kristen who sent me the following casting notice just so's Ah kin have somethin' here on my first day of work this year.
Casting Call
Saturday January 10, 2004
Info: casting[at]mediatinker.com
New serial drama seeks Japanese and foreign actors. The auditions will consist of two cold readings; you do not need to prepare a monologue. Headshots and resumes are appreciated, but not necessary.
In addition to the roles listed below, we need people of all backgrounds and ages for smaller parts and as extras.
Production is planned for weekends from March through April. Not all characters will be required for all shooting days.
Actress "Yoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Yoko" is a stunningly beautiful actress with lots of talent, however, she's also a kind, sincere, humble person. Although she knows she is beautiful and is confident in her acting ability, she is very shy off-camera, and a bit insecure and awkward when interacting in the "real world." She is genuinely a kind-hearted person who is torn between following her acting career and pleasing her parents.
Actress "Tomoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Tomoko" is a beautiful and feisty actress who hasn't achieved the success she wants. She's known as a busybody who knows everyone's business and gossips behind everyone's back—therefore, she's a troublemaker.
Actress "Junko"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Junko" is a quiet, insecure, and introverted young woman who works behind the scenes. She is sort of plain and the outgoing actors and actresses forget to invite her along to social events. Junko speaks but she has emotional depth. She's quick to try to please, but her eyes reveal sadness.
Actress "Miki"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Miki" is a young actress who is always late for rehearsals and meetings. Although she is a fine actress, she is a prima dona who reacts badly to criticism.
Actress "Anna"
Age: 20s-30s
Nationality: European or British
Language: English or bilingual
"Anna" is a photographer who has been in Japan for just a few months. She has an outgoing personality and is trying hard to make friends and get her career going.
Actor "Sean"
Age: 20s-30s
Nationality: UK, Australian, or NZ
Language: English or bilingual
"Sean" is a comic artist and English teacher. He is the comic relief in the show, (a la Kramer), offering wisdom in a friendly manner.
Happy McNew Year, my pretties. I can't quite recall how I spent New Year's Eve, but it had something to do with smoke, lights and mediocre music. Drinking champagne out of the bottle. Firecrackers. Cab rides. A dark room. Lots of waiting around. First meal of the year? Breakfast at McDonald's. I know. I'm ashamed of myself for supporting The Corporation. Let's hope none of this is portentous of the rest of the year. In the morning, I decided that the idea of New Year's Eve was stupid. Every year people run around trying to make sure they're doing something memorable for the countdown. It's just one moment. What about the rest of my life?
Okay, enough.
I have neither the time nor inclination to think today. Thank goodness for Kristen who sent me the following casting notice just so's Ah kin have somethin' here on my first day of work this year.
Casting Call
Saturday January 10, 2004
Info: casting[at]mediatinker.com
New serial drama seeks Japanese and foreign actors. The auditions will consist of two cold readings; you do not need to prepare a monologue. Headshots and resumes are appreciated, but not necessary.
In addition to the roles listed below, we need people of all backgrounds and ages for smaller parts and as extras.
Production is planned for weekends from March through April. Not all characters will be required for all shooting days.
Actress "Yoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Yoko" is a stunningly beautiful actress with lots of talent, however, she's also a kind, sincere, humble person. Although she knows she is beautiful and is confident in her acting ability, she is very shy off-camera, and a bit insecure and awkward when interacting in the "real world." She is genuinely a kind-hearted person who is torn between following her acting career and pleasing her parents.
Actress "Tomoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Tomoko" is a beautiful and feisty actress who hasn't achieved the success she wants. She's known as a busybody who knows everyone's business and gossips behind everyone's back—therefore, she's a troublemaker.
Actress "Junko"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Junko" is a quiet, insecure, and introverted young woman who works behind the scenes. She is sort of plain and the outgoing actors and actresses forget to invite her along to social events. Junko speaks but she has emotional depth. She's quick to try to please, but her eyes reveal sadness.
Actress "Miki"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Miki" is a young actress who is always late for rehearsals and meetings. Although she is a fine actress, she is a prima dona who reacts badly to criticism.
Actress "Anna"
Age: 20s-30s
Nationality: European or British
Language: English or bilingual
"Anna" is a photographer who has been in Japan for just a few months. She has an outgoing personality and is trying hard to make friends and get her career going.
Actor "Sean"
Age: 20s-30s
Nationality: UK, Australian, or NZ
Language: English or bilingual
"Sean" is a comic artist and English teacher. He is the comic relief in the show, (a la Kramer), offering wisdom in a friendly manner.
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