The first (successful) make up test

So I took some research time and dug around the interwebs for some trauma photos and came up with this as a make up effect for myself for "Vigil."

I'm particularly pleased with how I've managed to make my nose look out of place. Travis and Vinny (two of the cast members of Vigil) will be so happy with what they've done to me.

By the way, don't google image search various terms for injuries if you've got a weak stomach. Yech.

Umm, You've Got Some... Umm... Blood On Your...

I don't want to spoil anything from the upcoming production of "The Vigil or The Guided Cradle" so... spoiler alert.

OK. You were warned.

Ben Linus has the real Maltese Falcon, lives on Shutter Island, has been dead the whole time, and his real name is Kaiser Soze.

Anyway...

So, there are a couple of stabbings in this show, and I'm having a good time with them, even though I'm not the attacker or the victim. Though frankly, my character is plenty messed up without having to be stabbed. At least, he doesn't get stabbed onstage - he’s been beaten to mush offstage already. Onstage, he’s just strung up over a spike. It's not a pleasant or discomfort free stretch of time for me. But it will look cool.

Now - the stabbings - yay for realistic bladed violence - one is less than deadly, but is really painful looking - one of the characters gets a fork driven through his hand. At lunch, of all times. If that doesn't put you off your roast chicken, I don't know what will. I'm using the plastic baggie blood bomb method and it is proving to be effective. Palmed in the assailant's weapon hand, and ruptured at the moment of impact, apparently spiking the victim’s hand to a table. There's a real gory spurt though the attacker’s clenched fist and based on the water test we ran last night, it'll be a nasty looking moment. I’m reserving final judgment to see if we need anything more, but we should be OK.

The other one I’m working on requires substantially more finesse, though the two actors are game and easy to work with so far, which is a treat. I’m finding though, that some actors try to go fast when mapping out a bit – and I’m still not sure why. Perhaps it’s a desire to impose an emotional truth on the moment as soon as possible. Mostly I’m just encouraging/demanding of them to GO SLOWLY.

One of the characters, in a feigned moment of intimacy is able to stab another in the neck with a knife. We’ve been using one of the Lapu Lapu trainers in rehearsal, and I wouldn’t be surprised to see the tool make it all the way to production – it just works, looks vicious and is safe. The strike to the neck is upstage of the audience, so we’re well clear of contact and the victim takes control of the dulled blade, holding it “in” his neck, because as we all don't know, puncture wounds become exponentially more dangerous when the foreign object is removed from the wound.

I wanted the initial contact to be bloodless at first, so the audience has a moment to absorb the shock of the impact. The next step is for the victim to bite down on a blood capsule or two in the mouth and begin coughing up some blood. We now know it’s serious. The victim then “removes” the prop weapon from the neck, at the same time bursting the blood bomb held in the hand (covering the wound site). Because the wounds comes to the carotid and jugular vessels in the neck (sure it’s a lucky hit, but that’s show biz) it bleeds profusely and loss of consciousness comes show biz quickly, due to shock. The victim then collapses across a bed, further bleeding out onto the floor. I’m trying to rig a system into the “bed” itself to allow blood flow to drip onto the floor, sparing the actor costume as much as I can, but I’ll keep working on how that will work exactly.

It’s coming along well. I’ll be posting some shots of the effects as I can get them, so don't be weirded out if suddenly there's a pic of me looking like hell up here.

A parenthetical moment...

I recently was hit up on the Facebook by someone I don't know, asking me about knife throwing lessons - particularly where she could take them. I was recommended to her by an old friend. Cool. But...

It may seem odd, but I really have no idea where toget knife throwing lessons. What knife throwing skills I have are purely self taught "game" skills. Why? Because throwing a knife is a showy thing, rather than a practical application in a combative moment. Even if I have several throwers on my person, chucking one at a moving target in a hostile situation is about as good as handing an opponent another weapon to use against me.

The chances of scoring a hit that would actually stop an attacker are virtually zero. We'd be talking about a throw that plants a knife into the attacker's chest, either penetrating the ribcage(which is hard enough when you're holding the knife) causing serious damage to the heart, or somehow delivering a powerhouse throw into the solar plexus to drop them. I don't know anyone with the strength to deliver a few ounces of metal with sufficient force to cause a target to drop from it.

Of course, I could throw the knife at the head or neck of the attacker, but again we're talking about years of practice to hit a moving target the size of the human eye. The skull is thick. Tough. The neck less so, but... extremely hard to hit.

Missing these tiny targets by an inch means I may have a wounded attacker, sure, but still an attacker capable of directing purposeful action against me. Except now they're angrier and now have my knife. If I totally missed, well that's one less weapon I have to use now.

In the pretend world of movies and comics, knife throwing is a showy, bad ass way to cooly take out your opponent. In the real world, it's a giant waste of time. Unless like darts, it's a game - wicked fun, but still tricky and dangerous since throwing knives that don't strike on point tend to bounce off the target in really unpredictable ways.

In the pretend world of stage combat, I just can't see a way to throw a "knife" at an actor that is reliably safe, unless both the thrower and "target" actors are both very experienced throwers and stunt people and the blade is little more than an unsharpened piece of lightweight material incapable of causing serious harm.

As far game or sport knife throwing for the casual learner (because, yes there are people who've practiced for years and years and could probably successfully go hunting with a set of throwers) the only advice I have is that throwing a knife is not in fact, "all in the wrist" but rather more in the shoulder. Flick your wrist and you could end up over rotating the point and strike the target with the unsharpened sides or grip. Practice, practice practice. Outside. From 20-25 feet away.

Me, I'll focus on dodging the slow moving projectile and then locking or cutting my opponent into submission.

Seriously. I just got really booked.

Yes yes, it's April Fools Day, yes, yes, I'm a master of comedy. Now I'll tell you what's going on...

First off, rehearsals for "The Vigil or the Guided Cradle" are trucking along - it's a tough piece, and so far I'm having a blast with it. I haven't yet been able to climb into the aforementioned device, but I have a feeling by the time the run is over, I'll really be hating that thing. Which is I suppose, a normal attitude towards a 15th century mechanism for causing pain.

I'm also getting to learn a bit about Crystal Skillman's process as a writer - and how open she is to working with director John Hurley is really great. I've worked with writers who are convinced of their own genius and extremely resistant to change a scene. Actually, I may be describing myself when I write, but that's besides the point. It's really becoming an ensemble piece in the best sense of the word as a creepy moment has now gone into truly horrific, just by changing a few little things. I will not spoil it... but... the implied violence and feeling that we are seconds away from something that is straight up EVIL creates some very good theater.

And if that weren't enough - today I also received word that I'm going to be hanging around the Brick theater over in Brooklyn a lot in the next few months.

Why you ask?

Well I'll tell you. I blarhgged (which is my way of saying blogged - sounds more like hurking up something) a lot about "Hack." It was fun, silly, and regrettably over in January. Or so we thought...

The Brick's Too Soon Festival has selected Crystal's "Hack - The Live DVD Experience" to run for 5 shows, which means that we do the entire show in one night, 5 times over. A fully staged version also means I get to expand and rehearse the fights exponentially more - and we've got much higher production value than slapping this together at the Battle Ranch of the VC (who are unsurprisingly running a show called "Alice in Slasherland" at the moment. I haven't caught it yet, but I hear things).

Oh and lastly, anyone who's known me for at least two years can probably testify that I was mightily displeased with what went down at the "Mock the Classics" fundraiser in April of 2008. So displeased was I, that a formal challenge to one of the producers was issued. Dawn-ish in June of 2008 I shot the man and continued my undefeated streak of redressing wrongs on the field of honor with paintball pistols.

I vowed to never to do such an event again as well, it was so... distressing.

Except I am doing it again. I'm referee-ing the event, and this time... woe to any audience member who displeases me, or endangers a performer. Yes, this time I won't be the one getting screamed at, pelted and generally abused. This time, I get to bounce audience chumps.

And I've been needing a workout. I'm sadisitically looking forward to it.

The difference a month makes…

In the interminable doldrums of February, I was more or less mucking about with new tools and trying to translate my knowledge of CSSD SC into a rapidly learnable choreography system (which is going quite well – and has the added benefit of being more or less an intro to the actual fighting system). Now a month later, I find myself hip deep in projects, and more prospective work to come.

First up, this weekend I’ll be appearing in (and in Hoboken NJ of all places) a very short comedic piece by a favorite writer of mine, Janet Zarecor, called “Jerk Circle.” No fighting, but as it’s a comedy scene about a misogynistic doctor’s office, there is a fair bit of ball grabbing. Yep. No need to go back, I wrote “ball grabbing.” I have no idea where this is happening though, so… assuming I actually get to the show, I don’t know if anyone will see it. Which is sad, because it’s really funny.


Later in early April, I’ll be turning up in another short comedy piece “A Cold Reading” by C.L. Weatherstone (a fellow “12th Night of the Living Dead” and “Hack” veteran) – essentially he’s created a fart joke in 10 pages. High class, no. But hilarious? Yes. And while I’m not above a fart joke, I do try to stay on the side of good taste. So, we’ll be fart joking for charity. You can donate here.
Again, no combat – but worth mentioning. As we get closer to show date, I’ll post up more information.


Some friends over at kef productions are potentially putting up Marisa Wegrzyn’s “Killing Women” – this looks like it will be a fun one. More comedic than not, it features a fair amount of gun play. With any luck they’ll select me and buddy Bri-Guy to supply them with their stage props, and the basics on realistic firearm usage. I think we made a very competitive bid on the gig. And frankly, even if we don’t get it, I’m still looking forward to it. I’ve yet to see them produce a loser – and the version of the script I read was very, very cool.


Now, on personal level, the big news is that I was cast in the Impetuous Theater Group’s spring production – Crystal Skillman’s “The Vigil or The Guided Cradle.” First off, I’ve got a great role, which is shocking considering the level of talent who showed up for the audition. I must have done one hell of read – I’m now working alongside some truly awesome people. Helmed by none other than John “Dirty” Hurley, this one is not a comedy. “Vigil” is perhaps best summed up by the phrase on the poster… “A play about torture between now and then.” There is a lot of violence in this one, and suffice to say, this piece is very close to my heart, mostly because this isn’t violence for exploitation’s sake. Stabbings, Inquisitional torture methods, at least one suffocation all feature prominently in the action. I'm playing a 15th century terrorist, sleep deprived and not long for this world.

I love it. I’m hoping that I’ll also get to exercise some of my effects skills to pull off some of the more disturbing moments, as well as having to work my acting chops a bit. I haven’t done a show this serious in a long time, and while I don’t think I’ll have any trouble with the role, it won’t be a fart joke in the park. I’ll be posting more regularly as rehearsals go – and here’s hoping I can ride the wave of good fortune forward through the summer.

That is, if I don’t find a new job and move to the Virgin Islands. Which would be pretty sweet.

Direct from Germany...

There's always a fun and exciting feeling I get when a medium sized box comes to my desk with a return post label on it that reads, "CheruskerMesser Stiegeweb 36e D-49565 Bramsche." It's a sure sign that whatever is in that box is going to be cool.

Today's special delivery comes from Dirk, who made my day by letting me know he could offer me a hell of a deal and a steal when the Desangut did not go into production. Basically, they sent me four pieces for the price of two.

Instead of going hogwild for more blades (which was very tempting) I opted to grab some trainers. Three of them, individually boxed, shiny with that newly forged steel smell. For my fourth piece, I selected an LLC CRMIPT or Close Range Medium Impact Tool. That's pronounced "crimped". I guess it sounds better than "krrmm-ipped"

While much of my training involves using a much larger blade than anyone who wishes to stay on the right side of the law would carry such as the Abaniko, I primarily train with (and carry) the Lapu Lapu Corto. The Abaniko has a cutting edge that is anywhere between 5 to 7 inches depending on the model, and the Lapu Lapu Corto has a cutting edge less of less than 4 inches, in accordance with NYC law.

To be even more specific, I don't carry a live blade on my person. Even though the law may be on my side with a small blade like that, experience has taught me that most NYPD don't seem to give a damn about any actual laws if it means they can score an arrest.

For the last few years, I've carried a training drone on me. It couldn't effectively cut much of anything, but is still useful if you know how to use it. It's also great as a prop weapon. It looks like a knife, but isn't.

However one might need something more, and police especially are on shaky ground with any blades they carry and might use. If they defend themselves against an aggressor by using a blade, they are open to a host of problems - lawsuits and questions about the appropriateness of using an edged weapon to control a dangerous situation. (Silly, I know. Don't attack a cop. They have directives and stuff.)

Enter the CRMIPT - the same weight, material and shape as the live blade and training drone, but somewhere in between. Instead of a cutting edge, it has a roughened surface of mild serrations. The CRMIPT can't cut, but it does cause pain. Pain, but not serious damage. This means the user can defend themselves, and control a suspect using the same techniques as one would use with a live balde all without cutting said aggressor into whacko tar-tar.

Here's the three types, the drone up top in red, the CRMIPT in the middle in blue, and the live blade on the bottom.



You can't see from this shot those rough serrated edges on the CRMIPT, but trust me, they're there.

Even better, the CRMIPT is available for civilian purchase, and since it's not a live blade, it stays on the happy side of the law. That doesn't mean I can go flashing it around in public, but it does mean a more effective tool for defending myself in the highly unlikely situation that I need to. After all, my number one key to beating an attacker is: don't be where you'll get attacked.

Unless of course that attack is scripted, choreographed and for an audience. In that case, I won't be using a CRMIPT on an actor.

Quality and Time...

I thought it might be worthwhile to comment on the difficulty in staging an excellent piece of violent action without time to rehearse it.

In my experience - outside of professional environments, there are a great many directors who cast roles without much regard to an actors level of experience with combat, yet they ask that the performer learn a combination or sequence for a fight in very little time and perform it with expertise, realistic aplomb, and safety.

I hereby issue this plea to directors and producers everywhere: if you desire to have any staged violence in your show, be prepared to pay for it. It may cost some actual money to produce, but aside from the monetary factor, you must be prepared to pay for it in the currency of Time.

It may seem nigh impossible in the restricted rehearsal time allotted to independent theater production to devote hours of rehearsal time to what is essentially a few seconds, or minutes of action as part of a much greater whole, but here are some excellent reasons why the time is worth it...

1. Safety. Safety, safety, safety. The more complicated the sequence is, the easier it can be for performers to make mistakes. Even the most simple single punch or slap can go wrong if it isn't rehearsed! Factor in close quarters, various weapons, or props and mistakes can and will occur. Adequate rehearsal time will help reduce or eliminate the potential of those mistakes.

2. Professionalism. Actors are simply (to take a horribly un-artistic stance for a second) walking and talking most of the time. Yet we rehearse the walking and talking stuff for hours on end. Most of us walk and talk quite a bit in our daily lives and have a resonably strong familiarity with walking and talking. Many of us do not however have a working familiarity with striking other people, or discharging weapons at them. Devote a modicum of time to allow your actors to bring as much of their craft to the combat as possible. I HATE watching actors turn into bleary eyed automatons during a fight scene.

3. Quality. Any fight director/choreographer can map out an easy sequence and your actors can perform it. The more time that is allotted to build the moment however, means more interesting combat. It's a lot like comedy. Old jokes we all know just aren't that funny. Staged combat can go from blase to compelling by keeping things original or by putting new spins on familiar moves.

4. Philosophy. The combat might last 5 seconds but remember, in many cases this is a pivotal moment in these character's lives. The character(s) have chosen or been forced into using physical action over words. The next few seconds can redefine how the audience perceives the character for the rest of the show. Don't throw away a moment like that. The world's most boring character can become mysterious or amazing, loved or hated depending on how the combat happens. Yes, much of this is defined by the script, but there could be room for flexibility. By way of example, for those Lost fans out there, think back to the scene with Ben Linus leaving the island and appearing in Tunisia. Sure, he made short work of those guys who showed up. But if he had shot them all with a concealed pistol, instead of using that concealed baton, he'd be a hell of a lot less impressive.

And... rant ended. Enjoy your weekend!