I got an email from a supporter after the opening of my show that opened with that line. So I’m leading with that. There is at least ONE satisfied customer, so make sure you get your password to the show! (Look on your receipt, that’s where the password is! Or email me if you don’t see it)

But basically no one has seen it because I basically collapsed after putting it out. And then I got deep into planning.

It was a strange day, July 4th. I’ll have a blog with videos from the day of showing you a behind-the-scenes look soon. But I think at the end of the day, Process is something pretty original and needed in the moment. Putting it together in real time has been an interesting experience–I’m still figuring out what it all means myself.

And I’ve got five weeks to do just that. Process is an experiment in production, among other things: It’s a show about process, but is also a finished show, and it’s a Cabaret, but it isn’t theatre (as nothing on the internet is theatre, not even filmed theatre). It’s born out of the times we live in, and the constraints put on individual, independent artists in a disparate, broken world. So I’m hopeful I’m onto something, because we need something like this. Basically, I wanted to make something that both spoke honestly about the moment and the state so many of us are in as everything falls apart around us, and also inspires, and that also fit into my life’s demands: I need to be home most of the time for my family. I need to be able to promote my show in a separate time and space than when I’m creating it. I need people to fund the process, and I want the product to be free. I want the tech overlords to have no say in whether it’s seen, and I want it to be available online.

So I created a show that was made in pockets of time, that demonstrates process, that is put out quickly and promoted after the fact through zines. The play is about knowing when and how to take action, and is expressed through Hamlet and some of my favorite songwriters.

It’s a very vulnerable show for me in about 70 ways: I haven’t done any Shakespeare since college; I am showing a LOT of mistakes and including a bunch of crap I don’t like. There are a number of things I think need fixing, and I have not fixed them. Because it’s better if I don’t. But I have to trust you to get that, you see. And as you’ll learn in the show, I trust basically no one on this day in history. I have a lot of harsh reviews I would like to give it, but the point of the piece is to just let it fucking be, and trust it’s good enough. And It’s just very, very, very uncomfortable for me.

But, if I know people, that will make it quite compelling for you. So I DO hope you get a ticket!

As you can see, I have not quite flipped over into marketing mode, yet. I’m still very raw from the emotional process of making it. But I’m getting there quick, because I’m giving myself five weeks to promote the ever loving fuck out of this. You’ll see that all over the website soon.

Because while I’m raw and unable to talk about it the right way juuuust at the moment, the truth is, I’m very much so proud of this thing. I think it marks a breakthrough and a new way of working and–most importantly–draws a new starting line for people who care about art and democracy. I believe I have an approach to Hamlet I have not seen before, and that the songs are chosen rightly and performed with passion. It’s good work. Mostly. Like I said, I have my issues, and NO, I don’t want to talk about them with YOU–I want YOU to not notice the bad!

So, come on down! And please–tell your friends to see it, too! Every penny continues to support my move to my new land, keeps me working, and creates a more stable world.

Go to the SmutBones page to load up on Bones, get your password directly, or to email me to trade in 20 bones for a password to the show.