Posts Tagged overnight sensations

More photos from Overnight Sensations 2018

Here are some more photos — from other photographers — from Overnight Sensations 2018 and, in particular, my piece THE DENMARK COUNTY BARBERSHOP QUARTET PRESENTS . . . .

The Denmark County Barbershop Quartet. Photo by Dan Smith.

Reilly Lincavicks with the skull of Yorick. Photo by Todd Ristau.

Michael Mansfield directs the quartet. Photo by Dan Smith.

The big finish. Photo by Dan Smith.

More photos below:

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Photos and videos from “The Denmark County Barbershop Quartet Presents . . .”

My 7th 24-hour play festival with Mill Mountain Theatre and the Hollins University Playwrights’ Lab resulted in THE DENMARK COUNTY BARBERSHOP QUARTET PRESENTS . . . in which a ragtag barbershop quartet presents Hamlet to the tune of “In the Good Old Summertime.”

From left: Ally Thomas, J.P. Powell, Reilly Lincavicks, Bob Moss, me (kneeling), Erica Muyst, Chris Shepard and Michael Mansfield.

Below is rehearsal video from a short song about the Hindenburg, followed by the big finish about Hamlet.


* How the process unfolds

* Rehearsal photos

* Lots more photos here.

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Photos from “They Always Blame The Snake”

Here are photos from THEY ALWAYS BLAME THE SNAKE, my entry in the 2017 edition of OVERNIGHT SENSATIONS, the 24-hour play festival sponsored by Hollins University and Mill Mountain Theatre. My prompts: The reptile house, a farce, and the theme “do you trust them or do you not want to suspect them?”

Claire Hilton is the paranoid chameleon who wonders why the new arrival, the snake played by Bonny Branch, is in pain.

The result: Two bumbling criminals break into the reptile house, having tried to smuggle cocaine into the country in the belly of a snake shipped to the zoo. Instead, they find a DEA agent inside.

These photos come courtesy of Dan Smith and Susan K.

More photos and details below.

Claire Hilton, the chameleon, talks to Janemarie Laucella, the iguana.

Amanda Mansfield makes a fantastic, and grumpy, turtle.

Neil David Siebel and Stephen Baltz as our two bumbling criminals.

We move toward the climactic scene.


2007: “Stuck on You,” a farce about a glue gun gone bad at a prom.
2010: “A Vampire Soap Opera,” which is pretty much what it sounds like.
2011: “Strong As a Bull,” a horror piece about steroids and baseball — in the 1800s.
2012: “The Keys To the Universe Next Door,” a science fiction horror story about a woman trapped in an alternative universe.
2016: “The Zookeeper’s Arm,” about a murder in the zoo.

More from 2017:

Preparation and such explained here.

More photos of the whole process.
Rehearsal and production photos from the Hollins Playwright’s Lab
More photos from Dan Smith

Some of the responses I got:

“Your play was my favorite.”
— Celie H.

“Loved your piece.”
— Sherilyn L.


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Photos from Overnight Sensations 2017

For the sixth time in ten years, I was invited to take part in OVERNIGHT SENSATIONS, the 24-hour play festival that Hollins University and Mill Mountain Theatre produce each summer in Roanoke, Virginia. (If you’re a stickler, it’s the sixth time in 11 years, because the event skipped one year when the theatre was under renovation.)

Here are some photos of how it went down.

Packed for the adventure.

More photos below: Read the rest of this entry »

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Photos from “The Zookeeper’s Arm” in 24-hour play project

The cast of THE ZOOKEEPER'S ARM. From left, Paul Stober, Nicholas McCord, Amanda Mansfield, Ronald Blanks Jr., Bayla Sussman, and John Bergman. Photo by Susan K.

The cast of THE ZOOKEEPER’S ARM. Photo by Susan K.

For the fifth time in ten years, I was one of the writers to take part in OVERNIGHT SENSATIONS, the 24-hour play project put on by Mill Mountain Theatre and Hollins University in Roanoke, Virginia.

Everyone gathers on Friday night. The playwrights draw out of a hat the name of their director — I drew Maura Campbell. She drew the cast. Then I drew the genre (crime drama), the setting (the zoo) and the theme (“from the jaws of hell, I stab at thee”). Then the writers are whisked off to the Hollins library to write. By 8 a.m. Saturday, we’re expected to have a 10-minute script. The morning is spent going over revisions with the director, a production meeting — then the cast shows up for rehearsal at noon. At 8 p.m., the curtain goes up.

Here are some photos from this year’s festivities:

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Video: “The Keys to the Universe Next Door”

Part 2 of my account of Overnight Sensations 2012, the annual 24-hour play project at Hollins University. (You can find part 1 here, along with background here.)

When I drew “science fiction,” my first thought was to do a baseball play. I figured it’s not what people would expect. However, I did baseball last year, when I drew horror (see “Strong As a Bull,” about baseball and steroids.). Still, I started quizzing the cast on whether they were right-handed or left-handed, just in case.

At that point, I hadn’t had a chance to study the bios of the seven cast members to see what special talents they had. Most of them I knew already. Then director Drew Dowdy whispered into my ear that Becky Marshall was an opera singer. Not just an opera singer, but an adjunct faculty members who teaches the History of Opera at the University of Virginia.

That cinched it. How could I let such a rare and exquisite talent go unused?

So my script dealt with . . . opera.

The basic plot: Twenty years ago, a scientist discovered how to unlock the door to an alternate universe. All it takes is a sonic key, and he used his opera-singing wife to sing the notes that open the door. Problem is, that door slammed shut — with her on the other side, trapped in a horrible alternate universe. Now, he’s trying to find someone with the same, clear voice to sing those same notes so he can rescue her. Hence, “The Keys to the Universe Next Door,” which attempts to channel H.P. Lovecraft.

The script (with help from Drew Dowdy’s expert direction) makes use of Becky’s incredible voice. We see Martha Boswell (who was in my piece last year) on stage, able to see and hear this universe, but with no one able to see or hear her.

The biggest challenge I found was dealing with a 7-person cast. That’s bigger than we’ve had in the past. I had several ideas which I liked but quickly discarded because I didn’t think I could make them work with seven actors. Even in my first draft, one actor had only three lines (I fixed that in the Saturday morning revisions.)

The audio here isn’t the best, but you’ll get the idea, I hope.

Here’s the full cast, and some still photos:

* Professor Arthur Wellington: Michael Mansfield
* Theodora, his daughter: Theano Mavroidis
* Martha, his wife: Martha Boswell
* Mrs. Marshall, an opera singer: Becky Marshall
* Cassandra, her daughter, and an aspiring opera singer: Emma Sala
* Agent One, a mysterious federal agent: Jason Burton
* Agent Two, equally mysterious: Blair Peyton


Becky Marshall and Emma Sala


Michael Mansfield, center, flanked by Blair Peyton (left) and Jason Burton (right)

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Photos from Overnight Sensations 2012

That's me, in the jester's hat, sitting in the back of the auditorium with fellow playwright Ben R. Williams (in black, foreground) and actor Mike Allen (in red). In front of us is actor Chris Shepard.

For the fourth time, I took part in Overnight Sensations, the annual 24-hour play project sponsored by the Playwrights’ Lab at Hollins University in conjunction with Mill Mountain Theatre and other arts organizations in the Roanoke Valley.

The drill is the same each year: The writers, directors and casts gather on Friday night (this year at Hollins, since Center in the Square is undergoing renovations). The writers draw randomly a director. The director draws a cast. And then we alternate drawing a genre, a setting and a theme.

Then it’s off to write. On Saturday morning, the directors and writers assemble for a production meeting at 8 a.m. About noon, the actors arrive for an afternoon of rehearsal and then at 8 p.m., the curtain goes up.

It’s always a fun show and a great chance to work with some talented people, from both around the Roanoke Valley — and the whole country.

This year my director was Drew Dowdy, whose work I’ve admired on Roanoke stages before but whom I didn’t really know. He turned out to be fantastic. Between us, we then drew “science fiction,” “nursing home” and “overcoming weakness.”

I’ll have more to say about the script I produced — “The Keys to the Universe Next Door” — in the next post.

Until then, are some photos –– courtesy of the Playwright’s Lab — from this year’s event: Read the rest of this entry »

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