I’m Just Saying
of mine simply thought that I showed up at the convention the day of the performance with a script in hand with a room full of actors and then point at them with an air of authority to signal them to begin reading at the microphone. Well, not quite…
Recently I completed work helping launch a worthy project on Kickstarter for The Society to Preserve and Encourage Radio Drama Variety and Comedy (SPERDVAC) asking for support in producing its 24th Convention happening from Friday, November 15, 2013 through Sunday, November 17, 2013 at the Beverly Garland Hotel in North Hollywood, California. Basically, it’s a three-day celebration of the art form of radio drama, a fond remembrance of the Golden Age of Radio, and a chance to meet (and see perform) some of the very people who made it happen in those glory days of network radio.
Deadly Years”). And that’s just to name a few! I’m really looking forward to this!
was in the Army we would have all night Anytown parties listening (and drinking) to all three hours of the insane series.
I tried some voice acting on The University Radio Theaterproductions I wrote and directed with mixed results. During this same period I worked in broadcast radio as an overnight disc jockey, a career that I could not replicate when I moved to Los Angeles. I was an okay DJ, but nowhere near good enough for the big time.
Whereas I have done a few voiceover bits over the years, including the new web series Creative Continuity, it is still one area that I’d love to explore in more detail and with more discipline. So, let me add that to my list of things to do…
the power wielded by controlling the dominant method of mass communication. Now this project has possessed me for nearly ten years and is finally coalescing into a compelling film. Trust me, I can’t wait to share it with you!
the script for the proposed 3-D thriller Scream Machine Revenge, which is currently making the rounds, as we like to say.
I’m just saying…
In high school, I preferred the isolation of the lighting booth to acting on stage. However, that didn’t last long. I was drafted at the end of my sophomore year to play the role of Caiaphas, high priest of Jerusalem, in the Easter-themed play The Trial of Judas Iscariot. (I doubt it’s still in the rotation for public school usage, but this was 1979…) “He came to me of his own volition,” is a line I still remember because I had to look up the meaning of the word volition. Well, after that show, I came to acting of my own volition!
While in the Army I tried my hand at more acting, starting with the Fort Hood Community Theater (three plays, three not-so-good reviews), moving on to the Fort Ord Cabaret Theater (three plays, three sets of glowing reviews) and finally wrapping up my Army acting career with ACTOR (Army Community Theater, Okinawa, Ryukyu) where I acted and directed.
I moved on to Penn State University and landed roles with the mainstage University Resident Theater Company (URTC), along with workshop productions ranging from Shakespeare to some original works. In the summer months I either did plays at the Boal Barn Playhouse in neighboring Boalsburg, PA, or summer stock with the Pennsylvania Center Stage, and I spent one summer with the Elizabeth II living history show in Manteo, NC, which led to my network TV debut as a bar extra in an episode of Matlock starring Andy Griffith.
workshops and performed in local 99-seat Equity Waiver theater productions. My most notable review from these early years was in Variety calling me “the excellent Mike Kacey” for my role as a police lieutenant in The Little Sister. The star of the show was Robert Saachi (The Man with Bogart’s Face) and was produced by Crane Jackson (anyone recognize the name from The Big Lebowski??).
I just returned from a three-day old-time radio event known as the REPS (Radio Enthusiasts of Puget Sound) Showcase, held in Seattle, Washington. I look forward to this event every year in June. I give my time and efforts by preparing and directing recreations of classic radio shows for those fans in attendance and in return I get to feed my creative beast.
Among the things not to be neglected are the expressions that have been forthright and persistent in American history, expressions in which the common person is recognized; Walt Whitman’s sense of the importance of the individual.
He’s got a poem in “Leaves of Grass,” the sense of which is: the president is there in the White House for you, not you here for him.
It’s a poem that expresses the value and the almost sacred obligation to recognize, to give dignity to the individual. After all, nature does. Nature respects us.
There are billions of people on this globe. Think of it. No two of them have the same thumbprint.