IOPHIEL: Welcome, friends from Hell. I know it seems a little cramped, but you’re actually inside the globe. Not the globe some call “the Show”, but rather a 3-D neon map of it. It was placed on top of this building as a beacon of truth, because beneath us human beings used to work at finding out the truth and then sharing it by printing it on folded sheets of cheap paper so their fellow human beings could read and know it.
I’m sort of a truth history trivia buff, in case you couldn’t tell.
Sadly, this globe we’re in, well, it’s not really a beacon any more. The truth-tellers that used to work below, are all gone: sacked and scattered. And once again humans will have to struggle to find another way. But that’s not what we’re here about tonight. Tonight, we’re about fighting fire with fire.
Tickets are on sale now for Sandbox Radio Live! Episode 8: “Fools Rush In”. Reserve yours at Brown Paper Ticketshere.
“I heard I had to see Sandbox Radio in the theatre to get the full experience.”
Hey, listen, as a playwright, let me assure you that I hate theatre more than you do, and in ways you have never even thought to think of; but just because Sandbox Radio Live! is recorded at West of Lenin’s intimate but fabulous black box in front of a live audience, that doesn’t make it theatre anymore than Mike Daisey reading from his notes in the Bagely Wright makes what he does a play. (You can delve more deeply into this distinction here.) The podcast of Sandbox Radiois the full experience. The bonus of going to see it live is like getting to watch Chef Tom Douglas cook your dinner at Dahlia Lounge. Witnessing the prep’s a super-cool extra that only a few people are ever going to get to experience.
“Another “old-timey” radio show? Been there, listened to that. Next.”
Uh… you’re high. Give just one of these podcasts a listen and you’ll see how far from Garrison Keillor our Mistress of Ceremonies Leslie Law takes these recordings. The band ain’t folksy, it’s thumpin’! And the dialogue is distinctly R-Rated. You can listen to Sandbox Radio Live! on headphones at work, safe in the knowledge that what you’re doing is secretly and securely NSFW.
It’s Too Late Now
“If I try to plug into Markheim at this point I’ll be totally lost.”
Admittedly, listening to a randomly selected episode of my noir-angel-detective serial is sort of like picking up a comic book mid-volume and trying to figure out what’s going on. In other words… it’s awesome!
Isn’t this a Seattle thing?
“I don’t live in Seattle.”
Congratulations. I wouldn’t wish living here on a roving band of Uruk-hai. Lucky for you, each podcast gives you ~90 minutes of rich Seattle experience while you can still bask in the sun and/or snow and/or hurricane conditions common where you currently live.
Isn’t this a Seattle thing?
“I already live in Seattle.”
Congratulations! Don’t tell anybody else how awesome it is here, please! If you need put-off material, I have a great little geeky LOtR-insider joke about a roving band of Uruk-hai you can use. But here’s the thing, fellow Seattleite: even if you’ve lived here all your life, you don’t know this city like the writers of Sandbox Radio do. We’ve found the places, stories and people that make Seattle—hmm, what’s a kind way of putting this?—“unique”, yeah, that’s it. Witness this delicious morsel of real-life dialogue captured and then re-staged from Seattle’s moveable epicenter of danger-tainment, the 358 metro route to Aurora. (All dialogue guaranteed overheard on the back of the bus.)
GUY ONE: You wanna talk about John Lennon? Shit, that shit wasn’t even meant for him.
GUY TWO: What?
GUY ONE: That bullet. S’posed to be Paul McCartney, yo. That’s who dude wanted to shoot.
GUY TWO: Really. McCartney?
GUY ONE: That’s a fact. And dude will never get out of prison.
GUY TWO: Well, you know, they were all Irish.
GUY ONE: Sure.
GUY TWO: And I always thought that must’ve been weird, growing up Irish in London. Must’ve been hard for them. Where the music came from, you know?
None of these writers are Davids Mamet or Sedaris.
“Sure, I’ve seen some of Sandbox Radio’s actors on Seattle’s Big House stages. But if this ‘Scot Augustson’ is so great, why haven’t I seen anything of his produced at the Rep.”
Uh… you realize that question answers itself, right? A regular and relentlessly versatile contributor to Sandbox Radio, as well as other great companies throughout Seattle and beyond, Scot Augustson is without question one of the best artists currently living and writing for the stage. (At least I think he’s still alive. Homey lives hard up in Rat City.) Scot’s always doing something new for Sandbox, ranging from an original poem, to a hardboiled detective story for forest animals to the new sure-to-be-a-hit Seattle serial, Cousin Katie from Ketchikan. The only reason I don’t consume myself with jealousy for Scot’s talent and accomplishments is that his stuff is far too much fun to watch, or, in the case of Sandbox Radio, listen to. Every time I want to hate him he makes me giggle. Giggling is death to hate. You’d think someone would have put that fact to good use by now.
It’s too hip.
“My tux is at the cleaners.”
This bon mot comes from friend and colleague, Mark Handley, best known for his play Idioglossia, which was later produced as the Jodie Foster film, Nell.
It’s okay, Mark. I just pulled your thong out of my dryer. You can wear that while you listen. We’re casual.
Listen to the most recent episode of Sandbox Radio Live!here.
@2:35 “Markehim: Episode 5" by Paul Mullin @16:58 “A Work of Art” adapted from the story by Anton Chekhov @ 26:00 PSA - Little Bit Theraputic Riding Center by Elizabeth Heffron @ 28:25 “Sound Thieves” by Emily Conbere @ 42:09 “Au Fond Du Temple Saint” by Georges Bizet @ 47:08 PSA - World Arts Access by Scot Augustson @ 50:56 “Rally” a poem by Reginald André Jackson @ 58:21 “Lactar” by Elizabeth Heffron @ 1:12:12 “A Sousa Salsa” arranged by John Engerman @ 1:15:38 “The Bleak End of the Woods” by Scot Augustson @ 1:30:36 Finale/Credits
Every time the podcast of a Sandbox Radio Live! episode drops, I write a little blog about it. And every time I do, I say something like, “This episode is the best one yet.” And every time I say it, I believe it. But I fear that you’ll stop believing me if I keep saying so. So... what’s the solution?
Unsure, I press ahead.
Well, here’s one pretty objective way we get better. Each episode we try to fold a new writer or two into the mix. This time, with our episode “An Unexpected Twist” we presented a new play by relative newcomer-to-Seattle, Emily Conbere, and a poem by long-time local actor Reginald AndréJackson. Speaking as someone who has written for Sandbox Radio since its inception, it’s a little unnerving when a newbie like Emily so masterfully makes her debut. Her “Sound Thieves” leverages all the peculiarities, good and bad, of crafting stories for the fecund darkness of the mind. (I know, because our July show was completely sold-out. So without a single spare seat for a freeloading playwright, I sat under the risers, my view of the stage totally blocked by audience legs. I swear this is the very best way to experience radio theatre: live but blind.) My favorite moment: Annette Toutonghi as Gloria, a mom trying to convince a shopkeeper who illicitly fences stolen sounds, to sell her some zoo noise to cheer up her son.
SHOPKEEPER: Individual zoo animals are twenty-five. A cacophony is fifty.
GLORIA: I only got twenty dollars.
SHOPKEEPER: Prices are prices.
GLORIA: And I’ve… I’ve got my dignity.
SHOPKEEPER: I don’t know what that means.
GLORIA: I’ll give you my … (much huskier voice) dignity.
SHOPKEEPER: Ah! You don’t say!
Other favorite moments include Leslie Law and Heather Curtis Mullin singing “Au Fond Du Temple Saint” by Georges Bizet, Jim Gall as the title role in Elizabeth Heffron’s “Lactar”, and of course, Scot Auguston, gift-wrapping the evening with the final offering, “The Bleak End of the Woods”, a stark noir detective story for forest animals. (See if you can spot my wife’s radio acting debut cameo as Charday the Squirrel’s mom.) As always, I listened with unbridled envy as Scot tossed off comic brilliance as easily as peeling bananas.
CHARDAY THE SQUIRREL: So, who’s missing?
JOE THE POSSOM: Clementine.
CHARDAY: Clementine? Let that old windbag stay missing.
JOE: Charday!
CHARDAY: She’ll turn up like the bad penny she is.
JOE: I went to look for her and she wasn’t home.
CHARDAY: Wasn’t home?
JOE: Was not home.
CHARDAY: That doesn’t make sense. She’s a turtle. She’s always home.
So how do I convince you that while each episode is great in its own right, each one is better than the ones that precede it?
I know, I know. The biggest complaint about Sandbox Radio Live! is that the super fun recording sessions are always sold out, making it damned tough to watch the magic being made. Of course, the final magic is always eventually available to you as a podcast. In fact, Episode 5: “An Unexpected Twist” just recently dropped and is available here .
But now Seattle’s beloved arts festival Bumbershoot is offering a one time solution to this conundrum. This coming Labor Day (September 3) is your chance to see a “best of Sandbox Radio Live!” at the Center Theatre in the Armory, which has about thrice as many seats as our usual venue. We will start at 7pm and pack an episode’s worth of fabulousness in just one hour.
Here’s what’s in store:
"Notes from the Workplace" by Vincent Delaney
"Why We Run" by Scot Augustson
PSAs for Hanford Challenge and World Arts Access
A blues tune from Charles Leggett and The Sandbox Radio Orchestra.
Ads from "The Back of the 358" and a teaser for what's coming in Markheim by Paul Mullin
"T-Minus" by Elizabeth Heffron
"Barcarolle" from Tales of Hoffman featuring special guest soprano Heather Curtis Mullin, and more!
You read that correctly. My wife will be singing. And I will be acting: reprising my role of Sam, Prince of the World, in my on-going noir angel detective series, Markheim. That makes this Bumbershoot performance the very first time that Heather and I have shared a professional stage. So come see Sandbox Radio Live! at Bumbershoot and watch some hot history being made.
Check out Marta Zekan’s interview on KING FM 98.1’s Arts Channel featuring Sandbox Radio creator Leslie Law and Music Director José Gonzales.
And no complaining about how the upcoming Episode 5: An Unexpected Twist is already sold-out unless you’ve gone to our podcast page (click here) and listened to the previous episodes. (Or listened on iTunes, click here.)
I’m a Markheim. A sort of angel. But not the sort with wings and a harp and a halo.
Markheims are the black ops. We do things other angels can’t... or won’t. Upstairs pulled me outta retirement for a mission down in this soggy town. But when it was done I didn’t go back. I had questions. And the answers weren’t up above.
Now I’m walking neutral, half-fallen, in what we angels call the Show. But I gotta watch my back. ‘Cuz things can always get uglier.
Can you believe Sandbox Radio Live! has been broadcasting for a year now?
Neither can we. That’s why we’re calling our upcoming fifth(!) episode “An Unexpected Twist”. The Sandbox Artists Collective will be recording our latest offering before a live audience on Monday, July 23 at 7:30 at Fremont’s newest theatre, West of Lenin.
Entirely new, fresh and locally grown, Sandbox Radio Live! is written, produced and performed by some of Seattle’s hottest stage talent. This latest episode, An Unexpected Twist will include new short plays by Scot Augustson, Emily Conbere, and Elizabeth Heffron, plus Episode 5 of Paul Mullin's noir-angel serial Markheim, plus an original poem by Reggie Jackson, and special musical guests John Engerman and Heather Curtis Mullin.
Members of the Sandbox Artist Collective currently scheduled to appear include: Megan Ahiers, Eric Ray Anderson, Gin Hammond, Tracy Hyland, Kelly Kitchens, Charles Leggett, Peter O'Connor, Larry Paulsen, Annette Toutonghi, Kathryn Van Meter, Cynthia Whalen and guest Jim Gall.
Original music will be provided by Jose Gonzales and The Sandbox Radio Orchestra: Charles Leggett, Dave Pascal, Dan Tierney and Rob Witmer.
You won’t want to miss this, and you won’t want to wait until the podcast gets posted.
Plus! Before the show and during intermission enjoy our newly added bonus feature from last episode, The Sandbox Bar! Featuring beer, wine, mixed drinks and other refreshments.
Come see it LIVE! on Monday, July 23.
Who: The Sandbox Artists Collective
What: SANDBOX RADIO LIVE!: An Unexpected Twist
Where: West of Lenin (Located at 203 N. 36th Street, a few blocks west of the Statue of Lenin in the center of the universe,Seattle's Fremont neighborhood.)
When: Monday, July 23, Sandbox Bar opens at 7:00, house opens at 7:30 with a live music set, show starts at 8:00pm
How much: Donations gratefully accepted at the door. Reservations recommended and Available through brownpapertickets.com by clicking here starting Monday, July 2.
Sandbox Radio is conceived, produced and directed by Leslie Law.
Back in April we staged the fourth episode of Sandbox Radio Live, “The Chase” rounding out a year of producing this unique offering of all local theatre talent. The podcast of this last show is now available here.
Episode 4, “The Chase” recorded at West of Lenin on April 16, 2012
@1:42 “Stewart and Miriam" by Elizabeth Heffron @10:52 “Markheim: Episode 4” by Paul Mullin @25:40 “Why We Run” by Scot Augustson @29:35 “Ain’t Gonna Chase After You” Charles Leggett @33:25 “The Back of the 358 #4” by Paul Mullin @34:50 “Straight With Chaser” by Ki Gottberg @42:54 “Always Disappearing” by Juliet Pruzan @56:20 “The Back of the 358 #5” by Paul Mullin @57:40 “Child of the Second Tier” by Elizabeth Heffron @1:04:32 “I’m Always Chasing Rainbows” @1:07:53 “The Back of the 358 #6” by Paul Mullin @1:09:45 “Squeeze Play” by Vincent Delaney @1:22:00 “Finale/Credits
It was a great evening, as the Sandboxers have really hit their stride generating and performing work intended especially for the pleasures of listening. For me the standouts of the evening were poems by Scot Augustson and Elizabeth Heffron, “Why we Run” and “Child of the Second Tier”; plus Charles Leggett’s hard blowing “Ain’t Gonna Chase After You” blues, getting its sassy behind kicked by Leslie Law’s second mic vocals.
One time as a kid I was sick and my dad left me at home by myself with talk radio playing in the kitchen downstairs. (Hey, it was the 70’s.) I was a touch feverish and I started to imagine that the people talking were actually sitting at my kitchen table. This tickled me immensely.
Last night I had an opposite but even more delightful experience at Sandbox Radio Live’s Episode 4: The Chase! The venue, West of Lenin, was completely sold out— beautiful living butts in every seat. So I had to stand in the back behind the risers, along with fellow writers Scot Auguston and Elizabeth Heffron. I couldn’t see the actors or the Foley artists as they worked their magic, but the performances were so rich, the sound effects so convincing, the music so utterly compelling that I began to float freely in an alternate ocean of radio reality. Because I couldn’t see Richard Ziman playing the Nazi interrogator, he became the Nazi interrogator. When he popped a bottle of bubbly and poured it, it actually happened even though 25 feet away from me a Foley artist was faking it all with a table full of clever sound props. I will admit that at one point I had to move forward to see with my own eyes Charles Leggett blowing his harmonica because I simply refused to believe the outrageous amazement my ears were trying to convince me of.
Sandbox Radio is magic. And the world class artists that generate it are led by a genius, Leslie Law, who in four episodes has managed to accomplish the most difficult task there is in show business: producing consistent excellence, over and over, and getting better each and every time.
I don’t need you to believe me because the proof is in the Podcast coming soon!
(You can go here for podcasts of our first three episodes.)
So I know you are going to find this hard to believe, but I was recently getting into it with a fellow playwright about the failures of the New York-centric hub-and-spoke model of new play development. His argument was the tired old saw: “If you want the best product, you have to get it from the where all the best gather to produce it.” If I recall correctly, he gave as an example: “If you’re were looking for a new sensei for your martial arts dojo, you would to look to Okinawa.” I really have no idea what that means. I did, however, offer the counter that if I want the best cheese, beer, wine, meats, fish, fruit and vegetables, I don’t really need to look beyond the Pacific Northwest. Then I posted a helpful link on his Facebook wall to my essay “Theatre Takes Place: Why Locally Grown Plays Matter.”
The link disappeared within an hour. So much for the free exchange of ideas. I suppose when it comes to thoughts on theatre, the proper direction of flow is one-way from New York City to everywhere else.
But honestly, I don’t even need to argue when amazing Seattle institutions like Rain City Projects regularly put world class money where my big mouth is. Case in point, their upcoming release of Volume 3 of their Manifesto Series, a regularly published anthology of great Northwest Plays.
Can I even express to you how honored I was to be included with the likes of Yussef El Guindirecent winner of The Harold and Mimi Steinberg/ATCA New Play Award, or my personal heroine Elizabeth Heffron, or Stranger Genius Award winner Chris Jeffries or the fiercely incomparable Bret Fetzer and Stephen McCandless, all hand-selected by the nationally renowned playwright and playwriting teacher Naomi Iizuka?
Nope. I don’t believe I can, but— dammit!— I can try.
This coming Sunday we will be celebrating Volume 3’s release with free readings from several of the collected plays. I’ll be there. Yussef and Elizabeth mentioned they might be, too. So why don’t you come on down so we can sign your copy, hot, fresh, and locally sourced, right off the presses!?
Here are all the crucial details from Rain City Projects:
Rain City Projects is releasing the third book in itsManifestoseries - anthologies of plays by Northwest playwrights. We're very excited this time to have an anthology of seven plays selected by Naomi Iizuka who started by writing a manifesto of what theater should be and then chose plays she felt exemplified her vision. Please join us for a reading of short excerpts from Ms. Iizuka's delightful manifesto and from the plays she chose including:
Advance reservations are available today for the Fourth Episode of Sandbox Radio Live! “The Chase." Click here to assure your seat at Brown Paper Tickets.
Back in Episode 2, we had some fun with commercials for the King County Metro Line #358 Express to Aurora Village, or as I like to call it, “My Danger-tainment” bus. Listen here to the very first one we did. (“Read-along” script below the fold.)
Here’s a quick review of the info on the upcoming show.
sharing it by printing it on folded sheets of cheap paper so their fellow human beings could read and know it.
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