Colifer's Xanga

UPDATE

Fri, 28 Aug 2009 03:12:14 GMT

Kiana and I are moving to Chicago in less than a month. After an intense summer of prepping and working, and a two and a half week stretch of work with no day off and mostly doubles, we took a three day "vacation" in Chicago. This was amazing, not exactly relaxing, but amazing. In the first two days, we looked at over 14 apartments through Apartment People, a free service that gets a commission off the landlord they pitch.
Our first day wasn't disappointing, but frustrating to an extent. It took a few apartments for the agent, Dave, to really understand what we were looking for as far as space and budget. We found a few places on the maybe list, but decided to come back again the next day. An hour after we left, in an almost theatrical turn of fate, we got a voicemail from Dave saying "I think I found your new home!" After an evening of exploring the "L" (fantastic...just fricking amazing) the next day we met again with Dave for about 6 stops, the last of which being his trophy show. The anticipation mounted as we got into the door, we clenched our fists as he fidgeted with the keys. We whispered "If this is it, you're coming to our housewarming" and he opened the door.

Huge, spacious, beautiful, natural light galore, brand new kitchen, a nook for Tempest, a back door to a VERY safe alley, a fantastic neighborhood, closet space, heat included, a two blocks from the "L" and within our realistic budget. We could barely contain our excitement, or our nerves. We drove around the neighborhood with Dave and took in all of the shops, restaurants, and cafe's nearby. We took note of the theatre company a few blocks away, and we raced back to the office to fill out the application. We filled out our renter's history and work info, and suggested we don't need a co-sign. The next day we were up early, nervous and trying through breakfast under the "L" not to put our eggs in this basket until we'd heard from Dave. Through a few turns of the plot, which can be shared over coffee or phone, we found ourselves at the office, once again, to expedite the processing, and then racing to the landlord to sign the lease to our new apartment, which will be waiting for us with a fresh coat of paint on September 24th. From here, we drove back to Columbus.

My time with Kiana was amazing. We gelled like we'd just started dating, like best friends, like old lovers. Chicago will just be GOOD for us, we can both tell. We baffled each other regularly with smiles and laughter. On the drive home, we were so lost in conversation we missed our exit. Without issue or panic, we re-routed to drive a bit farther south and jump onto 65-S through Indianapolis. About half an hour later, still in heavy traffic, we decided to stop off an get dinner and caffeine. Random exit later, we teamed up with a semi on the off-ramp who was blocking a-holes in really fancy cars from taking the shoulder to try and bypass everyone waiting in the jam. I've always had a deep anger for people who do that, who use the emergency only lane (ambulance, fire truck, etc) for their own schedules to keep. As the semi cut two cars off, they reversed to try and get behind him, but we pulled up too close to let them in, and four or five cars behind us followed suit. Lesson learned, Mercedes. You're waiting in line with the rest of us. (of course, then some guy in a pick-up truck trumped us all by just driving through the grass right alongside the ditch, and leaving us all in his dust. Inconsiderate sure, but man he had some balls.)

Now, here is where the adventure continues. During this vacation, a topic that came up, less out of fear than excitement, was the idea of affording Chicago. Especially the rent. But we're surely not the first artists to upgrade to a major city. And where there is a will, there is a way. Kiana is also a die-hard, tried and true, Jackson NUT. And her profound respect has rubbed off on me. As we're finally about to get back onto 65-S from the random exit we took, after being on a road we weren't supposed to be on in the first place because we missed our exit, Kiana catches her breath and grabs my chest with an "Oh My God."

Ahead of us, on the right, we see a sign. "Gary Indiana: Childhood Home of Michael Jackson. One mile ahead, turn right and left on Jackson Street. 2300 Jackson Street."

We flew for it. We had no idea where we were and suddenly we were at a major chapter marker for our lives, (especially Kiana's). Gary, IN, had been forgotten by the US. All of the houses were too small, and most of them were boarded up or gutted entirely, with no businesses open as far as the eye could see.

Jackson's house, as you can see, was about 20'X20'. Merely a box, which 11 peolpe lived in.

According to my research (I think I could be proven wrong here, Jackson street didn't have a different name before the Jacksons moved there in 1948, first generation out of slavery. However, they lived on the corner, and the other street has been renamed to Jaskson Family Blvd.

The ride home was energized but solemn for a while. Mostly silence and "I can't believe that just happened." 11 people grew up in the box, and all of them went on to be amazing successful and life changers. We aren't to worry about finances again, that's for sure.

There was also this ironic feeling of poison, us being there. Part of the draw of onlookers is that it's not a living museum, but a dying one. The grass on the lawn used to be green but it's dead now from being trampled by tourists. They left stuffed animals and disney characters there to honor Michael, now dirty, soaking from the rain, and rotting there. It is fascinating in that people live there, THE JACKSONS lived there, and yet there is no relief for these people. It's close to being a third world country in most aspects. I'm standing here with my Iphone, shooting away and thinking "Wow, 11 people lived in that box" and at that moment, a family of at least 8 (three generations) comes out of the box-house across the street to pile into a car. Myself and two other cars that were there to see Gary's Golden Child averted our gaze, but one child, maybe 12 years old, most likely and understandably fed up with all of the attention the abandoned house across the street gets while his family gets no relief whatsoever, came up to the house and spit on the property before getting into the car. I couldn't blame him. I'm sure I could understand how he felt. Shafted comes to mind.

We are lucky. We do not begin to grasp all of our privileges. But we have many and much to focus our positive energy on. This was possibly the best vacation I've ever had, and the most amazing road trip.

Awesome comment garners thoughtful response today on:

Sun, 08 Feb 2009 20:44:05 GMT

Cole's Theatre Blog

From "Examining Life"

Fri, 06 Feb 2009 21:33:41 GMT

Synchronicity

I’ve always been one to believe in signs. That’s not to say I believe in signals. I don’t necessarily believe that someone is up there dropping hints when the road gets hard to see. But I believe in pattern. In the pattern of human nature. In the pattern of geography. I believe that once you start to notice these patterns, it’s like seeing the laces on the ball, and you can start to feel more confidant in your gamble.

These are signs.

So here I am. Feeling fairly confidant after the unified auditions, working on shows and more and more the image of living in Chicago with Kiana and working as a real actor while working with Glass City Films is becoming tangible.

I’ve been trying to follow up on theatre companies that were at the auditions, just a little digging to see if it’s the kind of company I want to work with, sending post-mortem e-mails to keep discussions open, etc. I did a little more digging on the theatre company, Steppenwolf, than some of the others because, well, they are a staple of Chicago as one of the most respected theatre companies in the world and they have a rich, risky, history.

I found these facts:
Just after graduating from high school, Gary Sinise was approached by friend and classmate Rich Argosh to put on a play. He agreed, and they began performing in a church basement. One of their first shows was Rosencrantz & Guildenstern are Dead, where Gary played the role of Rosencrantz, after which Gary, Rick Argosh, decided they wanted to continue working together and to find a permanence. It was then that Gary relocated to Chicago. Gary also directed, from the beginning, for this company. It wasn’t until his senior year that Gary Sinise realized he was devoted to theatre.

Compared with my own story:
I loved theatre in high school, but never realized I could DO it with my life. Just after graduating, I was asked to be in Rosencrantz & Guildenstern are Dead under John Klein’s company, which has a checkered past with performing in a church basement, which is, in fact, where we rehearsed the show. I played the role of Rosencrantz. I would later direct for this man, just one year older than me, and we would realize our artistic relationship was so much more than an affair and thus the elope to Chicago.

Yes, admittedly, I believe in signs.

As soon as I find them, I’ll post pictures of our production of RaGaD. But, until then, here is The Steppenwolf production shot. It’s a wonderful reminder that juggernauts begin somewhere on the ground, just like us.

I'm pretty sure that's Gary, on the right, as Rosencrantz.

Posted this on my other blog... Tellin you guys your missin' out, lol

Tue, 03 Feb 2009 03:25:33 GMT

Chicago...
Is amazing. Kiana and I road-tripped to Chicago for the Illinois Theatre Association annual unified auditions. The excepted 300 auditionees and we were among them and then had to find out how to make two contrasting monologues last only 90 seconds...altogether.

Why were we working so hard for an audition for a community of theatre 5 hours away? Why, because Kiana is graduating from Ohio State with her MFA in a matter of months and, love this city though I do, it doesn’t have much to offer us in the way of career paths.

And Chicago juuust might.

So we set out for the weekend and met up with as many artists we know of who have made Chicago their home. We got dinner with Sarah (a young actress from OSU, like myself), with my great friend Terrence (another actor with a BFA from Syracuse who really knows his shit), Tanya (an MFA from the last OSU class who had wonderful insight for me and especially Kiana), then off to dinner with Jen (a Duel major in Theatre and Social work, recieving her graduate degree at the University of Chicago in Social work and hoping to use the two for her therapy in the future) and of course the man who needs no introduction, John Klein (BA, like myself. Toledo like myself. Love me, like myself. And a full-time film maker.)

The information we gleaned from them was priceless. About living style, about neighborhoods. About art in Chi-town. About how to get by, keep happy, have fun, meet people, meet professionals, etc. About how to be a professional in a world without excuses.

Another thought. Kiana and I got in Friday afternoon and decided to see Terrence in his show “Stage Black” at MPAACT theatre. I am conditioned, from living in Columbus, to set my standard low. I don’t want that to come off wrong, I have been really moved by some theatre here. But when I go see friends in a show there’s usually something about it that you just have to try an forgive, be it the lack of direction, the weak link in the cast, etc. But this show blew me away. I’m saying that I stumbled into one of the theaters that my friend Terrence is in and was completely blown away by the quality and the talent. There are real artists in Columbus and there are real artists in Chicago. But the thing is, I didn’t have to look that hard to find them in Chicago. That was a nice sign. And the talent was diverse in age, race, and type. That’s another nice sign.

So...THE AUDITIONS.

We opted to get them done in the morning slot. Kiana wanted the morning so we could get on the road back to Columbus at a decent hour. I needed the morning so I could get it over with. I mean, this is intense man. To date, probably the most major audition I’d been on. (Most major...is that appropriate?)
We worked monologues each day up until that morning. We showed our pieces to friends to lessen the sudden nerves of going up in front of 40-something directors. With these cuts and the time constraints, the monologues had to be practically choreographed. There was little room for pause and the pauses we decided to keep had to be to the T. I grew a lot as an actor on just working on this. I like to think I already had the intensity. I’ve been growing a lot in nuance. But here I developed a very powerful sense of precision. Everything was planned and still fresh.

There was only one professional company actively holding callbacks that day because they were located in western Illinois, about 2 hours away from Chicago. They are called Timberlake Playhouse. They were just grabbing actors as finished and taking them into the other room.

They tapped me. Brad Lyons tapped me and read me heavily for their season, and paid a lot of attention to me for Wait Until Dark, as well as Grease, Lend me a Tenor, Dirty Rotten Scoundrels, The Wedding Singer, and Buddy Holly.
I know...that’s two plays and a lot of musicals, right? Yeh...they asked if I could sing and dance. They had me learn and 8-count and sing anything from any show-tunes I know. It’s a professional summer stock company, so if I’m in Wait Until Dark I’ll have to be a chorus member in Dirty Rotten Scoundrels, so I need to at least fake it, they said.

Gah.

At last, I was released and Kiana and I began our trip home, back to reality. Dazed and excited and terrified.

I will not deny that we are looking ODDS in the face. But we always have been. And we took on even worse odds with Glass City and we came out with history for Toledo, career boosts like some young artists (including myself) could only dream, and best nominations across the board. We’ve got what it takes. And to say we will do it ignores that fact that it’s already being done. Nerves are to be assumed, but I’m done doubting. Me and Kiana dude...what a team.

Lastly, this morning I got an e-mail from Circle Theatre in Chicago. They want me to read for Brick in Cat on a Hot Tin Roof.

I shit my pants.

It’s gonna be difficult to swing the stipend but they are Jeff award winning (that’s the Chicago version of the Tony award). They were very complimentary of me and it just bumps up on when we were looking to move. Can it work? I don’t know. But will I say no just yet? Hell no.

Whew...I’m off to rehearsal now.

Scratchin' backs

Wed, 28 Jan 2009 00:09:30 GMT

My friend and the creative yin to my yang is John Klein. An inspiration on so many levels to me, he is a kind and generous soul, he is talented as a producer and a DP of film. And he has made those bearers of the Bachelor of Arts, such as myself, proud by working hard in school, saturating himself with knowledge, and going on to his third straight year out of college as a professional filmmaker in Chicago.
Because "Glass City" which John co-wrote, produced, and DP'd was competing in Oklahoma, John drove down there as a representative. In doing so, he had to say "nay" to a lucrative film project. This sacrifice has him scared for the first time in three years. He'll be okay, he knows it and so do I. But faith, being nothing without action, needs a little help. And he just did the same for me with a director he's working with in Chicago.
So I leave you today with the reel for John Klein, (www.windycitycamera.com) one of my best friends, my favorite filmmaker, and your ticket.

Bigger Screen version and more info :http://www.youtube.com/user/WindyCityCameraND

And here it is!!

New free-lance site

Wed, 21 Jan 2009 19:20:53 GMT

It's all a part of the business of being an artist. Finding out how to get yourself out there so you can actually make money and keep doing it.
www.cole-simon.com
ENJOY!

A Glass City Announcement

Mon, 19 Jan 2009 04:50:26 GMT

Glass City premiered at the Trail Dance Film Festival in Oklahoma. Ranked one of the top 25 festivals in the country. Contending with huge production budgets and with casts consisting of Melissa McCarthy and Colm Meaney.

Glass City is coming back with Best Drama and runner-up for Best Director.

Glass City Films, everyone. Let's have a round of applause.

::EDIT::
Oh my embarassed apologies! In the shouts and cheers of the crowd over the festival in Oklahoma, when John said "There is no runner up" I thought I heard (or wanted to hear) you ARE the runner-up

Oh well. at 23 to be nominated for it, AND get best drama. I'll put that shit on a mantle

from my blogspot

Sun, 18 Jan 2009 15:05:55 GMT

Locations...

I sit writing to you from the Luck Bros. Coffee House in Grandview, Ohio (Columbus). One of my best friends and my father are in Duncan, Oklahoma, for the Trail Dance Film Festival where we, with Glass City, have been nominated for Best Drama, Best Director, Best Actor (Scott Wilson) and Best Actress (Kiana Harris).

So, why am I here, you might ask? Because, my show, The Internationalist with Available Light {Theatre} Company is closing this weekend, and at 23 years old, I just haven’t figured out how to be two places at once. This has been hailed by some as one of the best productions they’ve seen in Columbus, between script choice, performance, director, and use of space with design elements. And I couldn’t agree more. The people I’ve come to meet and the performances we’ve achieved are nothing short of professional. And at this point in my life, that is a most apt compliment.

Three major newspapers published articles a few weeks ago, hailing Columbus for it’s wonderful year of theatre in 2008, and even for our ability to produce two new theatre companies in the midst of a recession. January 2009 kicks off with a slam dunk with Available’s The Internationalist and continues, just two weeks into the new year, with Evolution Theatre Company’s production of Frozen (directed by Jimmy Bohr and starring Mandy Fox, Jon Ozbeck, and Tori Matzos) already receiving a rave review and a nod for best production of the year from the Columbus Dispatch.

I’m eager, in these nine more months in this city, to see what will happen next. I refuse to believe it will be nothing short of explosive.

Internationalist ushers in a new slew of locations for me. Meaningful locations. First, this coffee shop is lauded by the director and all over the program. I decided to walk in today and get some catch-up work done between work and the show. I introduced myself to one of the Luck Bros. and he said “Oh, you must know Matt.” He then insisted on making me a house latte which he “Lives for.” On the house, I drank the most beautiful espresso and steamed milk I believe I’ve ever had. It’s seriously velvety and gorgeous.
It also marks my first time working at the Riffe Center. I understand that might just not be as impressive to some, but as it relates to me, it is very exciting. Maybe that’s one of the things that makes me an artist, in that I find the gravitas in everything.
Being at the Riffe, at this point in the year, is busy. There are three theaters. Studio 1, used for rehearsals mainly. Studio 2, which is a thrust theatre where we are staging Internationalist. And Studio 3, the proscenium, where CATCO (Contemporary American Theatre Company) usually performs, but as they are in rehearsals in Studio 1 for Almost, Maine, Studio 3 is being used for the Pheonix Theatre’s The Miracle Worker where the actors both speak and sign their lines for deaf audiences.
That seems like a lot. Because it is. This last week has been a faction of nods and hallway conversations of actors from three professional companies each on their way to their perspective theaters of dressing rooms. The Subway across State Street (The Riffe is Downtown) is the only place that is open after 5pm, so cast and crews alike head there before going to work.
Going to work...
I’m sentimental. And you’ll have to excuse me for just one second. I need to sit and breathe in that magnificent notion.
We are going to work. I am an actor, just going in for another day at the office.

This is where I am in my journey. I am doing good work, but I am also consistently working. This is where I am located.

Here it is. The best latte I've ever had.

What I've been working on in addition to everything else this whole time:

Mon, 12 Jan 2009 02:37:22 GMT

The "Separation Anxiety" Investor Trailer

Produced by John Klein and Glass City Films
Written by Jeremy Sony
Directed by Cole Simon

Let everyone know. Hope you enjoy!
http://web.me.com/chasethehorizon/SeparationAnxiety/Home.html

Change is quicksilver

Thu, 01 Jan 2009 15:54:18 GMT

As I sat on the couch last night with Kiana, eating the abundance of exotic chocolates we got from everyone for Christmas and drinking the Champagne I bought from work, I relished that this is the first time in the over two years we’ve been together that we’ve had new years together.

Our first New Years was in Philadelphia. Both a little tipsy at a martini bar, one of us (for the sake of the reader, we’ll say it was me) misread the watch and announced we had a little more time that we actually did. The result was Cole spending the Ball Drop in the hallway while Kiana spent hers in the bathroom stall, mistakenly thinking we had plenty of time...

The second, 2008, I had returned home from Philadelphia and was working while Kiana stayed and worked at her old restaurant. We exchanged texts while she was at work.
And on a more somber note, the separation was due to the emotional leap I hadn’t made with her yet. Resulting in a lot of stupid choices. By early January I’d begin the year by spending six months, more or less, without her. I had a lot of maturing to do. I did so by talking about things. By papyral diarrhea (writing it all out). And, embarrassingly enough to some, seeking professional consultation, haha. Ultimately, the hard work and pride swallowing, the navigating the sea, paid off. I remember equating finding my way back to her like being lost on a raft at sea with only a glimpse of a star to guide me, and trying to stay on course when the sky got cloudy.

Now I’ve become a better boyfriend, a better partner, a better roommate. Generally a better person.

I sat on the couch last night with Tempest, candles lit abound, a bottle of Gruet that we had accidently frozen but had thawed just nicely, and my Kiana next to me as we watched Anderson Cooper in his infinite appeal try to put up with Kathy Griffin and her infinite pestering.

I couldn’t imagine a better way to spend it.

So.. yeh...there’s that.

And there’s that career thing. And that making money thing.

When I’d begun theatre in College, I wanted to be involved in four shows a year. That told me that I was doing enough. That, whether they be main-stage shows or not, as long as I do a show a season, I’m on the right track towards being a regular artist.

In December of 2007, I’d begun rehearsals for a new play by playwright Jeremy Sony. It was my absolute first leap into Non-OSU related theatre. This play was called Separation Anxiety. We opened in Janurary, and after the earthquake that was losing Kiana, I found my only consolation in staying as busy as I could. I did shows as often as I could to keep my mind occupied.
My year of theatre, from January to January is as follows:
Separation Anxiety
Boys Next Door
Tartuffe
Works of Darren McGannon (Film)
The Little Dog Laughed
Foolin’ Around with Infinity
Separation Anxiety (Trailer)
The Internationalist

Interspersed with that are my own writing projects, which are gaining structure, and the occasional modeling gig.

I’ve doubled my project load from when I was in college. I have done eight major endeavors in a year. And, in a most ironic stroke of chance, I have begun each December (2007 and 2008) with the sprint towards that finish line that is Separation Anxiety. I am working with companies that are going places. I am knee-deep in working with John Klein again.
John Klein.
It sings to me, that name.
He finally gave me a title. Artistic Producer. Albeit of the project, but sooner or later I’m gonna get an office at Glass City Films and it’s gonna be money baby.

There was a moment in the summer, after Kiana and I had gotten back together, where I almost stopped doing shows. That faux-satisfaction tried to trick me into saying “That’s enough for now.” I almost listened because something else needed to change....
I used to be the guy who would sweat if he had less than 25$ in his bank account. 25$. Up until a year ago I was that guy. I was tired of being that. I had decided to take a hiatus from shows and get a second job. I spoke to my father about it and he listened for half of a second and said “You can’t not work son. This is your career.” Ironically, if you ask him now I don’t think he’d even remember it. It was such a non-issue to him that doesn’t even deserve reverence. But what he said has been my guiding light. Up until then I looked at the decision as Either WORK or THEATRE. And then I looked at myself, at my capabilities, at my parents, and I said. Who made that rule. And I began doing both.
For a while, until I was well away from less than 25$ in the bank, I was working 50-ish hours a week while doing full productions. On top of that, I was getting paid for theatre. I had goals in mind. For myself. For my lady. I saved rapaciously and bought her her very own brand new Mac. Later on my Powerbook putzed out and I was “forced” to buy my own. It’s a squeeze, but I’m a more capable person for it.

2008 was a year of exponential growth for me. It reminds me of my latest monologue.

Change is....quicksilver. It can happen in an instant. It hurts me. It disrupts my days. It can happen in a word.

Change is a part of life. And through a sleepless year, the change has been maturity. It’s been abundant.