Video Game/ Internet Adventure

I would like to consider developing a video game for The Gnomes of New Hope. If anyone specializes in this type of programming, please touch base with me. We have a good portfolio of graphics to use and we are on our way to creating an animated film. So I would like to develop this genre as a parallel project.

Images from the Illustrated Storybook

Here is an image from 

The Gnomes of New Hope: Illustrated Storybook

This image was created by 

Arthur Greisiger & Jency Latta

It is one of the Illustrations from the Storybook Edition of 

The Gnomes of New Hope

Zach & Zebby's Grand Adventure

     Zach & Zebby have been exploring in the forest when to their surprise they run into a couple of human boys. Well, these humans had never seen a Gnome before and they just had to capture one of them. So a chase ensued and Zach & Zebby ran for their lives. When Zebby turned around to make sure Zach was right behind him, he was horrified to find that they were all gone!  Had the humans captured Zach? Well Zebby wasn't going to get captured himself, so he  ran as fast as he could to tell to Constable Warren to tell him the terrible news... and so with Zebby turning everything upside down in Gnomeville, The Mayor called a meeting in The Squirrel's Nest to decide what to do. Everyone was there as the whole village was in a tizzy about the latest threat to Gnomeville.

Here for you enjoyment is a scene depicting the whole village coming to that Meeting.

We are currently using this artwork to illustrate the Libretto for the Stage Musical.

At this point, we have 32 songs composed for this Two Act Musical,

which consists of nineteen scenes.

The Original Artwork is much higher quality that that which is displayed here 

and it is our expectation that this style will be the essence of the Animated film.

The Illustrated Storybook will include a companion CD of the music

and we are in a search for the singers to portray that music.

Early versions of some of that music may be found by going to the IMS Music Studio.

I do hope you enjoy this material and remind you that we are in a search 

also for financial partners to implement these plans.

We are offering signed lithographic prints of this artwork.
The details are not worked out yet, 
but if you are interested
please contact me.

I will be posting this information on a Gallery page I am developing. 

As listed below the first release will be an eBook edition of 

"The Gnomes of New Hope:

Zach & Zebby's Grand Adventure"

AG

The Gnomes of New Hope Current Staus

Update 8/29/12

 "The Gnomes of New Hope:

 Zach & Zebby's Grand Adventure"

Recent thoughts are to make the first release of the Illustrated Storybook an eBook,  since preparations for that are virtually (no pun intended) the same as those for a hard copy edition.

Anyone purchasing the eBook will receive special offers on all other materials, an invitation to the official release party of the hard copy book and tickets to the show.

If you are interested in receiving a copy of the eBook when it is ready for release, please send me an email so I can put you name on the list for mailing





AG


Archive

 Update 7/23/12

 I am intending on transferring all the production materials for "The Gnomes of New Hope" to it's own web page. There, I hope to post our extensive illustration portfolio, once I can lock the files against copying.  I invite interested participants to review the materials at our studio location.

We have been quite focused on preparing the illustrations for the Illustrated Storybook, but have found that illustrating the Libretto is working very nicely.  We are debating whether or not to release the Libretto as a published document and may do so to industry insiders as a means to advance the production.

Libretto and Score:

We are facing the need to create the piano reductions, as the music for this show has been composed for a 24 piece orchestra (an assortment of 24 pieces, with numbers using as little as six or eight instruments and as many as the the 16 tracks available to us in our MIDI program). We have limited ourselves to an ensemble setting and a maximum of 24 instruments.  In our attempts to score the music we ran into a programming glitch that has wreaked havoc to our process. Fortunately, I discovered that the glitch (apparently) exists only in the Grand Staff function of Digital Performer. So we will be able to get around that with some additional effort. Of course this has caused as certain amount of tension about how to proceed. The net effect is that we have a few piano reductions and some earlier versions of the score, but since we have changed our method of mastering the music, the bulk of the completed 29 pieces, in fact all of the work done thus-far for the first Act will need to be scored.  I am expecting that there will be at least nine more pieces in the second act, maybe more. Some of these pieces are merely bridges between scenes that are very brief.  So the actual length of the show music is more determined by the essential songs, not the number of pieces that have been composed.

We have had a few heated discussions about the length of the show and I am firm that the story needs to be told, but I am also aware of the audience's span of attention.  Additionally, we have debated whether this show is a show for kids or adults.  My position is that it is for adults & kids and Shawn is under the opinion that it is for kids & adults.  So...

Since I am involved in conforming the Libretto so that it matches the Storybook and Audio Scripts and Shawn is focusing on the Mastering process, the scoring will have to wait. We stop occasionally from working on these aspects, to compose new music, which we do together. Since I write the lyrics, I also play the melody lines with the flute. Once this is done, Shawn takes charge and puts down the accompanying parts, while I go back to writing and designing the Illustrations.

Early in our process, for almost all of Act One, we both did the arrangements and established the instrumental relationships, but moving into the Second Act, I have found that leaving the arrangements up to Shawn is a perfectly good thing to do, since we've gotten to the point where we think alike and more often than not we both have the same notes in our heads.  So we basically check in with each other before anything gets confirmed and if we have a difference of opinion we work that out before we more on. It works quite well.

Illustrations:

The illustrations are moving ahead very nicely. We are moving into structuring the scenes, now that we have a portfolio of at least 25 characters and numerous backgrounds to use. We have been experimenting some with animation, not that we have done any film work, but we have been building character positions by using components. An example would be switching heads or appendages on a character to achieve variations in body expressions.  This has saved us a good amount of time and I am working to develop a collection of files for scenes and characters. It is becoming quite large and it is clear that I will need to upgrade my Mac to accommodate the magnitude of this becoming an animated film.

I am looking a Poser as a possible program we should be using, but it is clear that the production value that we want to achieve must be retained and we will need to animate our drawings.  I do not want a slick computer generated look to occur, or otherwise it will just end up as another one of the standard fare computer films that are now being produced.  That is unacceptable to me, I still consider this as an art form that stands on it's own merits and needs to remain stylized as we have conceived it, not what happens to be the most conveniently current fad... unless someone wants to pay big bucks to change my mind. I don't see that happening.

Studio

The 10K warehouse space I am currently in charge of restoring/maintaining, would be a most suitable space to set-up operations and although I am part owner in the building, I cannot set-up without generating the appropriate income that the property requires. This is a goal I am pursuing, but without investors willing to support the larger operations, this will not happen (easily). My intention is to convert Image of the Mind Studios into a Closely Held Corporation and I am striving to build a Board of Directors for that purpose. Those of you who have been aware of this and find interest in being involved in some way should engage me in conversation about this. As you may read in some of the other posts, my intention is to build a Theatrical Development Centre which would initially be under the purview of this IMS operation. Of course that would ultimately occur in a different location with a great deal more land and facilities, but this scene shop would service the urban environment north of Philadelphia and the Gnomes of New Hope production requirements.  Even without the advantage of capitalizing the rapid development in this direction I am prodding along in that direction, however.

The Ultimate Goal

Mounting a full stage production is the ultimate goal, but my method of getting there is to produce results in the arenas that will require less effort, expense and personnel. I am perfectly willing and desirous of associating in a Joint Venture with other organizations/individuals who are capable and dedicated to this cause. So I invite dialogue in this regard.

AG

5/12/13

The focus of attention has been building a new studio facility and restoring some of the equipment needed for advancing "The Gnomes of New Hope". We are engaged in developing the prototypes of a number of product lines and producing the illustrations for the Illustrated Storybook and the animated film.  We are nearing completion of the first volume of the instrumental music for the stage show and expect to move into recording the lyrics to this segment of the music. The CD album is in preparation for a Limited Edition Release to our Vested Partners. We are working on upgrading our film/video equipment to accommodate our work in animation/stop action film-making.  We hope to begin constructing the miniature sets for the film work and I am moving forward to construct a green screen at the stage facility.

I find that I am quite busy with all this and spending time on the internet is not the best use of my time. So although I do believe that keeping these blogs updated is a good thing, doing so on a consistent basis is not the best use of time and resources. If you want to be involved or find out more, contact me directly. I will update this from time to time, but this is not my priority at this time.  I am assembling a package which will be made available to our vested partners and we are pursuing funding to the tune of 2.5M for facilities and establishment funds.

The ancillary rights to an assortment of markets are available and will be posted on IMS Producing Partners (a subscription site).

Do contact me if you think you want to partner on any aspect of this project so we can all make a few bucks.  AG

Illustrations for The Gnomes of New Hope

This post is in preparation of me placing a few of the scenes from the storybook here for you to review. They are still in the computer at the studio, but shortly I will move them to this workstation.

In the meanwhile, if you scroll down further on the page (past the discussions below) you will find some images of Constable Warren. We now have over thirty characters, of which, many of them can become Garden Gnomes. We are working on sculpting more of these gnomes and expect that these sculptures will be used for the puppetry and for ancillary markets. I am even thinking now in terms of candy.

Keep watch, I will try to upgrade the information on this show as best as I can. We are now up to thirty-two songs and closing in on the end of Act II. Whew! What a journey! AG

Illustrations and Sculpture

Refer to the

Production Approach Summary 

Current Status 

for the most recent management and Creative update

Here are some images of the materials we are working on. 

There is quite a bit more, but I hesitate to post it on-line for obvious reasons.

 We have advanced a great deal in our graphics 

and now have at least 20 full color characters developed

as well as with many scenes from the story.

 Well, here's the full color version of Constable Warren. 
This is the look we are seeking to achieve for the animated film.

 Here is the sculpture done by Elsa Acton

(

We hope to be producing a collection of all of our characters as 

Garden Gnomes

Presented by

The Gnomeville Arts & Crafts Guild

and I expect our puppets to be based on these designs as well.

(I am looking for a distributor for these products)

I am now working on assembling a wonderful Graphic from "The Gnomes of New Hope".  Jency & I work together to develop the material and then I assemble it into the appropriate scenes to go with the script.

The one that is being worked on now is a full color version of  Scene Three - it is the meeting which has been called by The Mayor, Moss Lichen, in The Squirrel's Nest high above Constable Warren's office in the centre of Gnomeville. The graphic contains a wide selection of our characters as well as a view of the centre of Gnomeville.  I think you will be as delighted by it as we are.  We are getting ready to record the lyrics to  The Diva's Lament which is a prelude to this scene.

I will be posting the scene here as a way of wetting your appetite for the stage show and the animated film. We are preparing the first volume of the music for release and I will be including as an extra to that volume - copies of the stage script attached to the songs.

I have discovered that I can do this in iTunes.  So if you use iTunes to view artwork, I will be attaching the story as a bonus for you.  This album will be a limited release to our business partners and associates and will not be a general release to the public.  So if you would like to have a copy, then become an investor, business or creative partner.

As it stands now I am looking for (an undetermined number of) people who are able and willing to provide anywhere from $100 to $1,000 per week as an accumulating investment in "The Gnomes of New Hope".  We have a few people doing this and it seems to work quite well.  The advantages are that you can invest gradually according to your ability and derive the benefits of a Front Money investment.  Everything up to $250K is considered Front Money and is used for pre-production expenses.

 The Front Money Investment returns 300% on the back end and has other benefits. Further details of that will be provided to you on request.  This investment will be used to support the development of the facility and to employ people to do the work we need to do in order to prepare for the full production effort. The funds can be earmarked as you see fit in the context of the project and the needs which we seek to fulfill.

If you are interested in joining our effort, speak to me directly or email me- imagemindag@verizon.net.

IMS Studio Compound

Although we have had other plans for a Theatrical Development Centre Compound, we now have the opportunity to expand into a larger facility which is attached to the current offices in Southampton, Pennsylvania.

The existing offices will remain intact and expanded upon if purchase of this building becomes a factor.

Other locations nearby are also available, which are under consideration for different aspects of the Theatrical Development Centre.   Initially anticipated in a more remote rural location, it now seems viable in this suburban environment, if the cash flow can be increased sufficiently to support the facilities.

The Recycling Centre would be located nearby, as would The Alpha & Omega Society which includes The Creative Archive, Exhibition Spaces, and Adjacent Services Office Compound.

Addressing the current expansion possibilities:

The available space comprises two buildings each is 5K and both buildings are available.

Here is the anticipated layout for this facility;

Building 3 

construction & fabrication

 

Building 4

design & management

Acquisition and set-up of this space is contingent upon funding and the operation requires a cash flow of approximately $300 per day (without the factor of equipment, personnel or supply expenses). We are seeking funding to support this operation for a minimum period of one year (preferably two), based on a five day week and a 50 week year.  Budget materials and discussions on this subject will be posted on IMS Producing Partners and is available to our Vested Partners.  

We are expecting to pursue the management structure of a Closely Held Corporation for certain aspects of the operation, others  require a Joint Venture Agreement, in addition to the Licensing and Limited Partnerships. We are open to dialogue in this regard.

A Summary of IMS Producing Partners

Introduction

• This essay/outline is intended to convey the IMS Financial Approach to producing work of various types by using the internet to disseminate the necessary information.

• The information outlined here can be construed to apply to any number of projects although in this instance reference may be made to The Gnomes of New Hope, since that is the principle project which is being pursued at the time of this writing.

IMS Producing Partners - an investment website, overview

• The current philosophy is to manage the dissemination of investment information and the relative updates thereto by way of the web site IMS Producing Partners. 

• This web site is intended to provide all the relative contract, budget & management information to our partners, whether they be investors, creative/managerial, or licensing participants. 

• IMS Producing Partners is designed to encourage investment in any number of projects through progressive levels of access to information depending upon the degree of investment and/or level of membership.

• The premise is that greater levels of investment deserve a greater degree of access and benefits for that investment and as such membership in IMS Producing Partners provides not only the foundational capital for further development as a whole, but is the basis for a developing network of people who are partnering to help IMS achieve the goals outlined.

• In today's world of international engagement, there ought to be a way for interested people of sufficient means to become part of the production activity thru the use of the internet and so IMS Producing Partners is being developed as a vehicle for that to happen, to some degree via the internet,  and to disseminate the required information for that to happen by use of more traditional and direct methods of fund raising.

• All investment procured by this means (internet) shall be controlled by the terms outlined on the website.  

• In all instances, hard copy confirmation must exist prior to investment for amounts larger than one thousand dollars.  Larger investment amounts via the internet may be possible, once the contractual agreements are in place which confirms the suitability of the investor and the relationship is established.  These terms may be altered as the implementation of this web site progresses.

• Other means of procuring investment exist and will continue to be pursued.

• Access to this web site is by membership only and the cost of membership is $120 per year, on the assumption that a person who is capable and willing to become a member of the investment group will not find that unreasonable.  Such membership funds are not considered an investment and therefore would not be returned.

• Membership is contingent upon  specific terms and conditions which must be adhered to and as such will be considered a binding contract enforceable by law.

Contents

• The structure of IMS Producing Partners is being developed as it is being conceived.

• Therefore the initial membership will include access to this process and the external structure elements which are generally accepted operating procedures for a membership oriented organization.

• Aspects of this membership structure will be applicable to The Shakespeareans of Tamanend Park and The Alpha & Omega Society as well.

• The structure of IMS Producing Partners is tiered so as to allow greater degrees of information to be available to members, partners and employees.

• Licensing information and management operations for the Ancillary Markets will be provided via this web site and therefore membership is required  for all licensees as well.

• IMS Producing Partners will be developed to a certain degree on this site and then converted to an internal server where it will be further developed and maintained.

• There will be benefits offered to members which will not be available to the general public, those benefits pertain to both Individual Productions and the overall IMS Studio Operation.

• Investment opportunities will be presented on IMS Producing Partners.

• IMS Producing Partners, at a certain level will contain the IMS Operations Manual and therefore all employees of IMS must be a member of IMS Producing Partners in good standing.

• Al new partners or employees functioning in the upper level operation, including creative and management, will be derived from the membership roles of IMS Producing Partners. 

• In addition to more detailed discussions about IMS Operations & Investment in the Studio Compound, the first level of membership will provide access to Individual Production Approach Summaries, containing: Budget elements, discussions about licensing, the Front Money Agreement.

• Certain elements of the production management system will be provided to partners on request off-line and not all elements will be posted. Those items not posted will be referred to, so that members in good standing may request those elements, if they are part of the benefits of their membership level.

 

This entire operational system is currently being reviewed 
and revised for the present situation

  Therefore,  in terms of it's presentation on the web,
it is in development and may seem incomplete.

The Southampton Park Trolley

Update: 1/12

There has been extensive dialogue on this subject and I have concluded that I will coagulate the emails I have written and post them here for the benefit of your broader understanding of the concept.  Please understand that all of this is a "concept".  It is a vision of what could be... but it could only be if there is a collective communal desire for such a thing to happen.  Look for me to post a new summary in the coming weeks. AG

Archive postings

I have been promoting the idea that the Rail Line which runs through Southampton be reconstituted and operated as a Trolley Line, which primarily will service the Park Systems along the line.  This trolley would accommodate bicycles so that those who use the line can travel between the parks, as well as the communities in-between.

In my mind an antique trolley, slow moving and uniquely quaint, would be an excellent tourist attraction for Southampton and part of that plan would be to restore the train station for use as a museum.  As I understand it, The Southampton Railroad Station Society is thinking in terms of making the train station a museum which will highlight numerous aspects of the rail line history, including the train wreck of 1921.

So it is that I am going to begin to post further on the subject here. I have posted on this subject and been writing emails to this effect for some time, but not on this site.  There is an essay with a link in the right panel titled "On the Improvement of the Community" this is an older essay and may be outdated, but it is worth looking at. There is also something of a summary of my work experience, as means of justification for the perspectives presented there.

If you have thoughts on a trolley line, please do enter the dialogue on the subject. AG

"Gnomespheres"

Work is continuing on the instrumental album of the music from

"The Gnomes of New Hope"

Some of this collection can be heard by following this link;

Gnomespheres

In addition to the Music and the Stage Show

we are working on the following aspects of this project;

Gallery Exhibition of the Illustrations w/Puppetry Storytelling

Puppetry & Toy Manufacturing

 

A Concert Version of the Musical

 

Publishing Numerous Items;

Illustrated Storybook: Zach & Zebby's Grand Adventure

A Dictionary of Gnomenclature 

The History of Gnomeville (published by a random gnome)

Reproduction Artwork by Gnomen Rockpile

 

Animated, Stop Action, & Puppetry Cinema

 

Theme Park Elements w/Animatronics

 

Investment and Licensing opportunities exist 

refer to this essay on the subject.

The Gnomes of New Hope: general activities

8/30/11 UPDATE;

• We have mustered a budget and are proceeding with the illustrations for the Storybook with the goal of publishing the final product.  We expect to assemble a package of the Audio Narrative with music as a companion CD to the Illustrated Storybook- Coloring Book Edition.  Hence we will be advancing with black & white illustrations.  The coffee table book edition will follow in due course and will have the companion DVD.  These illustrations will also serve as the storyboards for the animated film, which we expect to move forward with as a classic animation. We are also working to create articulating dolls for the stop action animation film version and ultimately for retail distribution.  

The Cover to the Illustrated Storybook

• These illustrations will also serve as the sketches for the set & costume design for all of the manifestations of this project on stage or film.  In addition to proceeding with puppet construction, we are beginning to plan set construction for presentation of the show at Tamanend Park's Meadow Amphitheater (see The Shakespearean Journal for images of the stage). We are currently making the bodies to the marionettes and costuming them.  The appendages will depend upon our advancement with sculpting and casting the figurines.  We have intention to move forward with that as we finalize certain illustrations, particularly the characters.  

• With that in mind, we will be creating an array of collectible characters of The Gnomes of New Hope.  We are starting with Constable Warren, who can be seen on this web page.  I will take pending orders for the figurines, should anyone desire to have the first production lot.  The Limited Edition Collection will be signed and numbered and likely made of porcelain.  Final pricing on the finished product is not yet determined, but I expect that it will be under fifty dollars for the signed editions, depending on the detail work involved.   

• There will also be an unlimited edition produced from resin.  The puppets/marionettes will also be produced as a limited edition, but that edition will not be released until after the show has been successfully filmed as planned.  The first 35 numbers in all editions are reserved for our front money investors. We have not yet located a publishing distributor.  All production management, manufacturing and inventory will reside with IMS. Purchase orders for production runs of any prototype item must be for acquisition of the entire production run required to bring the unit price into a marketable range.  

• Therefore, we seek relationships with wholesale distributors.  IMS reserves the right to distribute to retail in any region if necessary or desirable to support the exhibition of either the stage show or the film. Exclusive distribution of product is available to the organization who provides 25% of the production budget for the stage and the film, under the standard terms of the investment agreements and can show evidence of worldwide saturation.  All Distribution Contracts extend for a period of two years and are contingent upon performance. Other terms apply. Inquire directly.

  Post Archive

• 8/26/11 UPDATE - We submitted the first song from the show to The John Lennon Songwriting Competition.  We discovered that one of the flute voices in the piece was accidently left as a Pan Flute instead of the Soporano Flute which it is supposed to be, so I will be trying to rectify that. We are quite pleased that we started to release the music. Our plan is to produce the Audio book of the show and we are actively moving forward to publish the Illustrated Storybook as a coloring book with the companion CD of the music and story narrative.

• I have decided to build a puppetry bridge at The Meadow Amphitheatre in Tamanend Park and we are also moving to build the puppet show for presentation in the Park and at other outdoor venues. The interesting point about this approach is that the stage in the park will very nicely serve as a model for little theatre and the size of the sets will fit well into a few theatres I have in mind, in particular- Phillips Mill in Solebury.

• We are also beginning to film the events in the park and I anticipate posting those events on my YouTube Channel.  I expect that we may film The Gnomes in the Park as a preliminary to a more refined shoot at Phillips Mill.

8/5/11  UPDATE;

• Today I am thinking that the associations I need to foster, are the ones which are centered around the internet in terms of communication.  Other methods are less efficient and have proven to falter to a greater degree.  If you are interested in the subject of Gnomes and the mass-media elements I am discussing on these pages, then I would invite you to open a dialogue on the subject with me.  Clearly, I am pursuing all avenues opened to me for this project, but I would prefer to encourage use of the internet and the IMS Virtual Studio for the advancement of this project and all other management functions. I expect to spend more time on the IMS Producing Partners pages.

Further discussions;

• We are nearing completion of the music for the first half of the show.  

• The first half of the show contains approximately 18 songs that are both lyrical and instrumental.  

• We will be producing The Music Album in a two disc set- Act One & Act Two and I am moving forward to design the liner notes and the cover for that.

• Our game plan is to post one song as a sample and possibly make some of it available for purchase.

• We are striving to have the instrumental versions played by  a professional orchestra and we are talking to a few people about this.

• I am continuing to seek representation for this show and have not yet confirmed an agreement.

• We have the text for The Illustrated Storybook laid out and are proceeding with creating the artwork for that edition. 

• We will be moving forward to begin recording the lyrics to the music in the expectation that this will serve as the sound-track for the animated film version and the puppet show.

• We are proceeding with construction of the puppets and exploring some animatronics which may be applied to both the puppet/marionette shows and to the Gnomeville Theme Park aspect of this project.

• I expect that I may start a new blog that is dedicated to The Gnomes of New Hope.

PRESS RELEASE, "Nunc Licet"

8/30/11 UPDATE:

• We will begin working on Nunc Licet again soon, with the anticipation that we will do another reading in Pendelton Hall sometime in the fall after The Autumn Leaves Performance Festival in Tamanend Park is over.  If you worked on the reading before and want to do so again, please let me know.  If you have read the script (which is posted on this web site) and would like to be included, please let me know.  We do intend to proceed as best as we can with the goal of a full production.  All the  information posted on this blog still applies, just change the dates. AG

PRESS RELEASE;

Subject: Nunc Licet: a stage play about Emanuel Swedenborg

All are invited, participants or observers, to attend the "Official Workshop" to develop and prepare a script-in-hand reading of

"Nunc Licet" at the 2011 World Assembly of the New Church  (link)

It will begin on this Wednesday, May 25th and take place from 7:00 to 9:00 PM on the campus of Bryn Athyn College in Pendleton Hall.  Entrance to Pendleton Hall can be gained from the North Parking Lot behind the Brickman Centre.

A sponsorship program has been developed for those who would like to help financially, as we try to bring this play up to a full production at MPAC (and ultimately a feature film version) and there is advertising available in the program that will be handed out at the Assembly.

We will be videotaping the Workshop and reading, for which we need two camera operators and other technicians.

Stop by the Workshop to gain the necessary details or check the web site www.imagemindag.blogspot.com.

A very special thank you to those who have already been helping. Your participation is more valuable than you can imagine. AG

Please feel free to forward this notice as you see fit.

Arthur Greisiger
Artistic Director / Proprietor;
Image of the Mind Studios

Founder / Administrating Director;
The Alpha & Omega Society

Founder / Executive Producer / Artistic Director;
The Shakespeareans of Tamanend Park

"Nunc Licet" Sponsorship program

I am looking for folks who want to contribute to the cost of presenting "Nunc Licet" at the Assembly.

Funding is being sought to assist in: * the publication of 120 copies of the script  *costs of renting the performance space  *supplies required to make the presentation  *costs involved in advancing the production  *operating expenses incurred during the scriptwriting & production management time-frame.

I need to raise a few thousand dollars for this purpose. I don't have the specific budget, simply because whatever I can muster will be a great help and ultimately a full production of this show will be many thousands of dollars anyway.

There will be a program booklet with advertising and various degrees of sponsorship.  Publication will be done in-house.

Advertising and sponsorship will be published in all editions of the Playbill for each presentation of the play produced by Image of the Mind Studios and productions by other companies will be required to make reference in their playbills to those who have helped make this possible.

For this presentation at the Assembly we will be publishing 100 copies of the playbill.  If the show moves up to the next level (meaning a production at MPAC) then advertisers will be included in that playbill as well.

If you'd like to be a sponsor or purchase advertising in the program booklet, talk to me directly, send me an email (imagemindag@verizon.net)  or call me if you have my number.

I have the sponsorship program designed and the details available in hard copy, which I can provide to you, but I need to convert that layout for presentation here on the web.  It is much the same as the program for The Shakespearean Journal and the Cinema Under the Stars program, so you might review those web pages.

It would be a help if you purchased a copy of the script in advance (to be picked up at the reading).

If you care to donate via PayPaL please do so here;

If you do make a contribution in any amount, send me an email to confirm that you have done so and assure that I list you as a sponsor.  I thank you in advance for you help to making this happen.

Look for me to post the Playbill advertising specifications here within a few days, if possible. AG

NUNC LICET Handout Card

For those of you who are helping with this effort;

These images can be printed on front and back an 8 x 11 letter size

to create hand out cards.

Sorry about the misspelling of Pendleton Hall, too late to change it now. 
I saved the image to a test file and  printed this out from Preview on a Mac and it works pretty good.
If you want a copy of this email me and I'll send it as a n attachment.

The Workshop and Progress Reports are below the Character Listing.
I'm trying to post there weekly.

AG

Character Descriptions: Nunc Licet

 For those of you considering reading in the upcoming workshop,

here are the character descriptions from the script;

 

Appendix

Character Descriptions;

General Notes: This background information is provided mostly for the benefit of the actors who are chosen to perform the roles.  Further descriptions may be required for designers & casting.  Character traits & idiosyncrasies are further defined throughout the script.

If necessary, most characters can be altered to accommodate the available cast or production values.  Ages are not critical, however key elements in the script may not work properly if the age range is changed too drastically.  Swedenborg’s age is fixed. The character relationships, relative to age, are based on life experience.  With this in mind, a primary objective in the characterization has been to exhibit as wide a range of human experience as is possible within the context of the script. The physical characteristics herein described are for the benefit of the representations the author has envisioned for the play.  It is not critical that they be adhered to and they are not intended imply any particular bias of mankind generally.  The individual character traits can & ought to be adjusted for the cultural needs of the people for whom this play is being presented.  Although in order to represent the time period they are recommended.  If the character traits are changed, such changes must be conveyed in the program for the show. 

Casting Notes: the hair color of the characters must represent their diversity.  This is particularly important for the women, as their dialogue is not as predominant in the play.  Beards are not critical but are described to create contrast.

William #2

The primary antagonist of the play, William is 37 years old.  He is a close childhood friend of John.   William’s stubborn; egotism is prevalent in his crass, obnoxious attitude.  John tolerates him mainly because they were very close, as children and they have not seen much of each other in the past few years.  He has stopped in to visit with John as he is on his way north. The foundation of William & John’s relationship is weakening rapidly because of their differences.  William is a rogue and a mercenary.  He is a husky rough type of character and dresses in a rather mismatched coarse way. Women of culture are generally leery of him.  He has little respect for women and considers them to be objects of his desire.  He weighs approximately 200 lbs, has red hair & a beard.  His eyes are green and he is of Irish descent.  His hands are callused from his work with horses. William tries to project an air of culture, however he does not have a firm enough background for it to last long into a conversation.  His focus of attention is brief, but as he moves from subject to subject, he is able to regain the ironic appearance of refinement. He manages to contain his anger but he has a short fuse.  If he remains in a disagreement with someone,  there is the risk of his becoming violent.  He does not respect others and the subject of other people’s intelligence is one of the ongoing arguments that he has with John.  He respects John more than most others, but he is beginning to give up on John.  Return

Sir John Gabriel  #3

Is 32-39 years old and the host of the gathering.  Living in established wealth, he need not exert himself, although he does so, much to the bewilderment of his family & friends.  He keeps an even pace about his life and takes the time he needs to relax. Much of his time has been spent in universities studying a wide spectrum of subjects, with a particular emphasis on trade. He carries himself well, and is a successful businessman dealing in imported goods.  As a child he spent much time living on the estate that has been left to him by his grandfather.  The older servants who remember his youth have a warm and loving relationship with him. His thirst for knowledge & intellectual challenge continues to provide him with inspiration and an abundance of energy. He dresses comfortably but retains the air of his cultured upbringing. The style of his clothes is generally one of subdued elegance, however, that elegance is by no means fragile.   His hair is light brown.  He has no facial hair.  He weighs approximately 180 lbs and is of Saxon/Teutonic decent. He is in good health, even strong. He is not married. He treats people with much respect and clearly supports a belief in God. He generally projects his thoughts in a clear manner but sometimes drifts into aloof thoughts. Return

Victoria #4

  A female servant in Johns home, Victoria is an attractive woman. It seems possible that John may have chosen to employ her for her looks because she compliments John well physically. She is subtly flirtatious, a fact that is quite delightful for John and his male guests. She carries herself well and she is rather coy. Her flirtatiousness becomes much more outward “one on one”, particularly with Thomas.  She is 28 years old and is of medium height (5’10”±).  She is a slight woman,  maybe 110 lbs, but she is shapely. She wears her hair up when she is working on preparations and lets it down in a ponytail when she is encouraged to do so by John.  When her hair is let down, it is a long, silky brownish blonde.  Her attire is that of her position, however she has a number of changes of clothing, as this is her subtle way of catching attention. She also has a more formal change of clothes for when she is invited to participate in the gathering. Her work clothing is conservative but attractive, whereas her formal change is considerably more provocative. Return

James  #5

James, the butler, is approximately 70 years old.  He has taken on a surrogate role of guardian for John as a result of watching him grow from childhood.   A slightly larger than normal man, he is balding & grey.  He is a quiet man.  His clothing is quite refined and he takes pride in the way he looks.   Once married, his wife died of an illness a few years ago, he generally feels lonely as a result of this.  He seems to feel protective of Victoria and she looks up to him.  Deep in his thoughts he is attracted to her as a woman but his moral sense does not allow him to manifest his affection in any way other than a fatherly one.  Whenever he begins to feel attracted to Victoria he remembers his wife and becomes flustered.  He likes to think he can do more than he can and he often appears feeble. He is in good health however, and actually is stronger than he appears.  Most of the guests are familiar with James and are comfortable being friendly to him.  When the formality is let down he is quite frank.  He is, for the most part, unimpressed with John’s gathering. Return

Thomas #6

A long time friend of John’s, Thomas is well traveled in high society circles throughout Europe.  He has spent a good amount of time in studies, however he doesn’t seem to use what he has learned.   Apparently, his university days have been overruled by his jaunts with High Society & the lustful oblivion that it has fostered.  He mostly appears to be a fragile man when left alone to his thoughts, but when he is putting on airs for women & men alike his stature gains strength.  At first impression, it is unclear if his sexual orientation is toward men or women.  His actions & appearance seem contrary to his dialogue & intent.  His gate & level of intensity seem to fluctuate as though he is bordering on sensuality & spiritualism.  In his initial entrance his attire is riding gear, which gives him an air of a swashbuckler. He is an excellent horseman.  He has come to stay with John for a while and so he has an assortment of clothing & supplies.  Later, when he makes his formal entrance, at the gathering, he is wearing a wig.  His attire is shockingly frivolous and he appears quite feminine.  He is quite immature.  He has never settled into responsibility.   Thomas thinks himself to be highly educated & refined, and it seems that this may be so, except that his span of attention regarding complex issues does not hold up.  His age is approximately 34. His hair is blonde.  He weighs about 160 lbs and stands about 6’ tall. Return

Baron Frederic Von Greisiger #7

The Baron Frederic Von Greisiger is in attendance as a result of his long time association with John Gabriel’s family and his timely arrival in England.  He is a wealthy man about 60 years of age. He is unkempt in his appearance, not so much because he doesn’t try to keep himself looking well, but rather because he keeps falling apart.  His actions are clumsy but he has managed his business dealings shrewdly enough to compensate.  He uses money to buy favors and is always looking for ways to gain more.  His attitude about matters of the spirit is non-committal, but he is not adverse to discussions, even though he does more listening than speaking.  His clothing is rich but his tailor is not very talented. He is a medium sized man, more round than tall.  He has a beard which tends to capture debris.  Return

 

Baroness Hildegard Von Greisiger   #8

 The Baroness Hildegard Von Greisiger is a stealthy woman in public when it comes to her husband,  but quite the reverse when they are in private. She is a domineering German wife who has clear control over her husband. In public she is able to secretly convey her messages of control to him whereas in private she is outwardly physical toward anything that dissatisfies her. Her secretive manipulations surface occasionally in her actions. She is a  well rounded woman slightly larger than her husband. At times, when she is with women she appears quite feminine, but when she is around men she becomes quite defensive and almost masculine herself.  She is 58 years old and dresses

 in a rather gaudy fashion, which she believes to be quite fashionable. She is very intimidated by Christine (because she is a fashion designer) and she acts out her role as a Baroness in a very animated way. Her overall appearance & behavior borders on offensive. Return

Lord Perry Eevanwald   #9

Lord Eevanwald is a neighboring landowner.  His attendance is by virtue of his mutual association with the Baron & being friendly with the elders of John’s family.  He is a thin weakening man and has been declining for a number of years, ever since his wife Johanna died.  At first he appears to be in fair health, but his endurance over the course of the evening is not good.  He is a conservative man, quite indoctrinated with the teachings of the Protestant Church.  He finds himself in the position where he must be tolerant of new ideas and is somewhat resistant.  He is not quite certain why, but he finds himself making an effort to be flexible, until it reaches the point where his beliefs are challenged too deeply. When this happens he takes over the role of antagonist. He has a very bad heart condition which gives him cause for grief from time to time and this has severely limited his activity. He longs for the company of his wife and he has a generally sad demeanor when he is thinking alone. When he is about other people he is somewhat uplifted. He is 68 years old.  He clearly has unfinished business with William, something that occurred many years before. Return

Lady Carolynne Eevanwald   #10

             Lady Carolynne is Lord Eevanwald’s sister.  She was very close friends with Johanna and came to live with her brother when she died.   She feels it is her duty to help raise Sara and has taken on a surrogate mother role. She is very high pitched in her emotional reactions to everything, particularly those things she considers to be even slightly in difference to what is “normal”.  In this sense she is rather schizoid,  however when she is focused on something which she is knowledgeable about, she is quite confident & persuasive.  Her ability to endure is limited. She seeks confirmation from the other women about her own self worth. She is 53 years old, fairly attractive, and dresses well, albeit conservatively. She tries to be an example for Sara, even though Sara doesn’t seem to pay much attention. Her relationship with her brother is rather odd.  It is not clear how deep her affections go for her brother, although it is quite apparent that she is greatly concerned about him.  At times she seems to be living in a fantasy world.  She has never been married and she is deeply embarrassed by this fact. Return

Sara   #11

Sara is a vision of innocence.  At 17 years of age, she has been protected by her mother and also by her aunt.  She loves her father very much but is at the age where she wants to avoid his dominance. She is a petite girl, fragile with fair hair & skin.  She is unknowing about many things, but she has an inner sense that projects a certain quality which seems to inspire a sense of awe.  She is unaware of the evils that beset her (IE: William & Thomas’ lust) because her thoughts & actions are focused on the young love that has appeared between her & André.  She dresses in white lace in a very conservative, yet somehow provocative, manner.  Her presence tend to bring others into a more “aware” state of mind and they generally feel more rejuvenated. She is quite giddy & sweet and tends to delight those around her. Return

 

Christine   #12

In contrast to her distant cousin Sara, Christine dresses in a outwardly provocative manner.  Her attire is of her own design & is quite diverse in the way she has used various textures & colors.  She has very long straight black hair which stands out from the wigs of some of the older women.  She is a tall, slender, but quite shapely, woman and she wears rich jewelry to accent her clothes. She holds herself very well & even though her clothing is very sexual, she has a distant, upper crust, air about her that prevents the men from approaching her.  She is very much in control and chooses who she allows into her sphere.  She is 29 years old and has spent most her life in France. She therefore behaves in the manner of a French woman, but looks more Teutonic (Spanish/Moor). Return

André   #13

Of French origin, André is a 23 year old student of philosophy & medicine.   He is an energetic young man who is quite interested in the young ladies. He has never been abusive in his relationships with women, & so he represents the masculine innocence that balances out Sara’s presence in the play.  He is good looking & he knows it.  This fact is apparent in the way he holds himself, at least until he sees Sara, at which time he becomes much more humble and even shy.  André is confident in supporting his positions.  He is not very tolerant of the attitudes projected by William, Thomas & Nicholas, primarily because he considers himself superior intellectually to them. He avoids conflict if it appears that it may become physical, but he is inclined to entice an argument- if only to be participant to the resolve.  He dresses in a smart fashionable way that is intrinsically practical. (NOTE: it may be appropriate for him to enter with facial hair but then remove it during intermission because of it’s effect on Sara, this could provide good business). Return

Nicholas  #14

A commander in the Calvary stationed in India.  Nicholas is currently in England to report to his superiors about the situation. He is beginning to loose his loyalty to the crown and so has become distant about matters regarding politics.  He is a private man and has known SirJohn for some years, primarily because of his sister Cassandra’s relationship with John.  He is 43 years old and weathered in appearance. He dresses in a conservative manner, not one for frills.  Right off the top he finds that he is rather adverse to Williams presence and so he more or less avoids him.  He is interested in the women,  but not enough to be blatant about it although he has made his attraction clear to them at various points of contact.  It is not clear if Nicholas is a violent man or not. He is obviously strong and appears at though he may be rough, however during the course of the play he is mostly gentle. His hair color is not critical but  dirty blond (of Viking descent) is preferable. Return

Cassandra   #15

A conservatively attractive woman, she is working very subtly at trying to convince John to marry her.  She carries herself decidedly, in order to attract John’s attention. She carefully selects times when her conversations with other men will help her cause.  In this way she is devious, but because of her age and her need to marry, she feels justified in stirring jealousy. She does not use it in an abusing way and when she can soothe John she does so. She is comfortable in John’s home and he is comfortable having her there, except when she and Victoria get together, at which time he gets nervous.  Cassandra plays on this nervousness to playfully keep him in line.  She is an intelligent woman, who can be quite strong, but prefers to allow her fragility to predominate. She is in her early thirties and has long wavy hair somewhat darker than her brother’s. Return

Angel   #16

An uncouth woman in her late twenties, who unconsciously has become a harlot, her condition in life is a result of depravity and not so much a result of choice.  She has an innocent goodness about her, which is not readily apparent. After she has been engaged in conversation with someone for a period, there seems to be hope for her.  She responds sexually to men if they initiate the action, but not overtly in a group of strangers.  She does however project more sexuality than is proper for any gathering of this type. Until she realizes that it is not necessary for her to be that way in order to gain acceptance (ie: after her song) she acts in a generally unacceptable fashion.  Her clothing is rather plain and soiled but she changes after Cassandra offers to help her. She is completely blind to William's abuse of her because she finds him fascinating. Her fascination for William becomes enlightenment to his real qualities as the play progresses and he is unwilling to contribute in a positive way. She becomes quite comfortable with allowing Swedenborg to take on a surrogate father role for her.  He in turn responds favorable to her new found awakening. Return

 

Emanuel Swedenborg   #17

A gentle man, Swedenborg is portrayed at age 83.  He is quite lively and alert.  His stature is upright and he moves quite easily for his age although it is apparent that he is approaching the end of his life.  He is quite secure in his opinions and has no fear of what may occur in any circumstance. He wears a wig and his attire is quite plain.  History tells us that he often wore clothes that were unintentionally mismatched and this is the case in regard to his shoes. He carries a sword.  He is quite delighted by the young ladies, as they are enamored by his curious sphere of gentleness & eccentricity.  He is not generally eccentric except that from time to time he drifts off into a world of his own, as if he were speaking or listening to someone who was not visibly present.  He seems to have a protective sphere about him, as the antagonism of the play arises.  He looks toward the good in every situation and therefore places a positive interpretation on most all circumstances.  He is, however, quite cognizant of when a situation is negative and generally tries to remove himself from the conflict. He is not afraid to confront a situation if it is required to protect the values of innocence or truth. When standing his ground he has a confidence & power that defies explanation to anyone who is viewing things from outward appearances. He tries to remain “regular” and does not look down on anyone. Sometimes he intentional feigns confusion so as to not seem too all knowing. Return

Celestial Angels   Male #18/Female #19

Their brief appearances at the opening of Act III are described at that point in the script. There is one male & one female, who can be portrayed by the other actors. Their attire & look is such: Both wear long flowing white gowns which are intended to reflect both the intense hues of the scene & the black lights to be used for highlighting. The male wears a purple waistband & silver jewelry (jewelry which does not clatter) The trim & undergarments use the same color scheme although the undergarment colors are closer to pastels. His hair is of medium length and is fiery red. The female has long wavy hair of the same color. Her attire is much the same although it is cut more femininely. She wears a waistband of deep Ruby trimmed in gold. Her jewelry is gold as well. She wears a headband of gold inlaid with pearl. They wear no shoes. Both are of tall & powerful stature although the female is quite a bit smaller that the male. The lighting in the scene is deep purple & lavender hues so the actual colors must be able to reflect the proper balance in the costuming. Return

Spiritual Angels   Male #20/Female #21

Likewise, their appearance is described immediately following the Celestial Angels in the beginning of Act III. There are also two performers- one male & one female.  Other actors or possibly the musicians can also portray these characters. Their attire is as such: They are dressed in long flowing white gowns with minimal trim and no apparent jewelry. Their undergarments are colored in rich hues that complement the rich amber hues of the lighting.  Their hair is (preferably) of light color but this is not critical. Return

Ariel  #22

Is one of Lord Eevanwald's guardian angels. He appears to be about 25 years of age.  He is a fair skinned young man with a bright,  lively look in his eyes.  His hair is light color (Blonde, implying his purity by the reflections of light off his hair).  He is dressed in a full length pale blue, hooded undergarment covered by a white frock.  Around his waist is a braided rope of crimson & gold. He is wearing sandals of gold.  Ariel is a jovial type who enjoys encouraging Lord Eevanwald to be like a happy child and he freely jokes with him, making it clear to him that he is doing so by his expressions.  Ariel projects a confidence in the providence of God and he is very good at instilling that confidence in Lord Eevanwald. He reacts with Lord Eevanwald as  if they have always been close friends. Return

Johanna  #23

Lord Perry Eevanwald’s wife of many years, she has now grown younger since she has gone to Heaven.  She appears to be in her twenties, in contrast to her husband’s being close to 70.  This does not seem to bother her, in her being close to him when they meet again, although it is stunning to him.  She is very gentle & caring but she is also somewhat cautious, not being certain about how her husband will react to the spiritual world.  As she speaks to him,  she seems to examine him because she is anxious to know if they will be together.  As they spend more time together they begin to draw closer.  Johanna, is a woman with long fiery red hair,  her complexion is fair and she is a slight woman.  Her attire is a flowing lacey gown, almost like that of a wedding dress, but much less formal. The colors of her dress are white highlighted with yellow and she is wearing a gold headband and a golden necklace. A further description of her attire is located in Act II of the script. Return

Two Musicians 

            Cello & Violin (harpsichord or recorder players optional)  Musicians attire is refined and conservative and must stand out in its simplicity from the reset of the characters. Their costumes must be coordinated.  Other musicians may be added as desired. Return

Production Note: More musicians are advisable and suggested. The specified musical numbers require woodwinds, which can be conveyed either on stage or in the pit.  An Overture/prelude, interludes within the show and a postlude for the curtain call are desirable. This material may be provided in future editions.

Additional performers

Should the staging format expand to include abstractions of time & space, in the form of asides,  additional performers & text will be included to accommodate the expansion.  When reading this version of the script, keep in mind that an expansion such as this will occur in those areas where descriptions are given about Swedenborg’s activities in the context of hearsay.  A possible scenario includes Swedenborg breaking away and seeing spirits & angels interacting within the gathering.

An Essay on the Improvement of the Community

On the Improvement of the Community, Southampton Pennsylvania

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