the downside of world-wide theatricals

So we're back home.

The next cool thing is that The Event is having its German language premiere in Nurenberg next week.

And we'll start the hustle to get The Extremists over to the Edinburgh Festival Fringe next summer and see what we can do to get some more money to take Apocalypse out for another spin.

There's some stateside stuff going on, but the bulk of the work next year, like this year, like last year, is Over There.

A couple of years ago I was talking with my buddy Greg Kotis.  I had just gotten back from somewhere and was heading out to somewhere else and he casually asked,

So, you're happy being like a jazz musician, working mostly in Europe and over there?

And I thought,

Huh.  Not really, no.

I'm happy and grateful for every gig, wherever it may be.  And it's a blast to get to see new places and work with artists with wildly different backgrounds and vocabulary.

But I'm 48 years old, kids.  And the road can be mighty cruel when your bones begin to ache in cold weather.

I'm a New York City artist.  Spent over twenty years making shows in Manhattan, opened and ran two theaters here, started a festival that's still thrilling and pissing people off, even became some kind of elder statesman despite my youthful looks and boyish temperament.

But I've got to get on a plane and carry a passport if I want to get paid.

And I know I'm not alone.  I've had the conversation with dozens of friends and all of us are careful to say right at the top,

I'm not complaining, don't get me wrong, work is work, but...

It's just nice to walk home after work.  It's nice to play to the home crowd.

So all I'm saying here, I guess, is if you've got a theater or a barn or a backyard or even a decent sized basement and you like the kind of stuff we do,

Hire us.

We work pretty cheap and clean up after ourselves.

And we'll tell you some wild stories from the road.