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Oh Heck Yeah – More from Rogue Swan Vaudeville

Aug 20, 2019

This is what happens when, instead of shooting an event, one covers rehearsals, the dress rehearsal and then two performances. The first way, as fast as things are happening, and with any degree of unfamiliarity with what is coming, I'm lucky to come away with enough B&Ws for a couple of postings.

But now with Rogue Swan I find myself telling the story of the performance(s) – and it's sort of taking on a life of its own, albeit interesting and fun, and a lot of hard work. As an aside, I can say, right off the top of my head what would cut my work load down considerably – modern, small, flesh colored mics instead of those awful, gargantuan things Rogue Swan has been stuck using. If we had the money, we'd spring for them. The old ones are a nightmare to try and remove.

Anyway, suddenly I'm going to end up with a total of upwards of four dozen images from the May Vaudeville event – I don't even want to think about the upcoming Halloween show. I'm going to have to come up with something new and different to accomodate the unexpected harvest. At this point I'm thinking of putting them into a digital book format (optimized for iPads, etc.) that can even be, if wanted, ordered as a small book. I'm not sure exactly where this idea is going, just following my nose here.

In the meantime, in order to finish up on something that happened way back in May, I'm putting together a couple of larger postings – lotsa images. Here goes with something of a conscious effort to cover all of the skits – the image above is from Beauty Underneath, the Transformation Begins. That's Caleb Gordon, with some assistance from L.H. James, carrying Marion Jackson (a wind-up doll who has just come to life), who is beckoning to new recruit M.C. Carder.

Below left Alex Fintak winds up Marion. On the right Jessy Gordon readying her great line at the end of Hey, Big Spender: "hows about it palsie…" – with perfect pose, timing and inflection.


Below, guitarist Jeremy Kicks-Kachik and his instrumental: Anthology of Interest, a dulcet toned break from the mayhem on stage:

Next, not an easy shot to get, or prepare. Josh Hutchinsen's playing attracts M.C. Carder to the fold:

I did my best to capture the jumping scene in Bitch of a Living. the trick was catching it with no heads completely above the backdrop. This was my favorite out of two (two performances) bouts of holding the shutter down, at eight frames a second, for the duration:

This, below, is just one of the moments in the fast moving opening sequence. When watching the show, especially without knowing what is coming, it's difficult to appreciate how well choreographed everyone's moves are. That’s Joseph Murphy in the center dancing with Marion.

Finally, until later in the week, here’s a great example of the kind of action going on off to the side and in the background while most of our eyes are following wha is going on center stage. It's quite impressive. April Monique knows how to close in the stage edge for the scene.

I'm going bug-eyed trying to catch up on all this – there's still a lot coming up, including as I mentioned above, another large posting later this week. And even then there will have to be one more posting on this – probably a little over a week later. Just in time to start on rehearsals for the Halloween extravaganza in October – tickets at the Opera House site HERE:  https://hdgoperahouse.org/event/

Havre de Grace Street page albums – change

I've split the 2019 Local Theater PDF album into two: Moonshine Haflas 2019 and Rogue Swan 2019. This makes room to either expand them or combine with previous years.