Success Can Be Murder

 

The hits keep right on a'comin'! Maybe because they've been stacked up like planes over La Guardia for the last year and a half. Whatever the reason, I'm glad they're landing now. 

Translation: I have three separate productions of the same show this summer, the interactive murder mystery known far and (sort of wide) as MURDER-THE FINAL FRONTIER. This riff on STAR TREK and everything geeky has turned out to be very lucrative for yours truly, now the second popular play in my meager catalog. Not bad for something that I thought might not get any further than its first production or in other words: one and done.

But I'm glad to say (at least on this point) that I'm wrong again. Here's the lineup, 1-2-3.

1. On the last weekend in June, SanZman Productions in the Los Angeles area, who also staged DEAD TUESDAY for me, runs THE FINAL FRONTIER as a dinner theater show for two big performances. 

2. In July, my buddy Roscoe with The San Luis Valley Theatre Company in Colorado will produce my show as a one-time event-the second time for this theater (another first!)-for a FREE one night only virtual event on July 24.

https://www.facebook.com/events/524522282122809/?ref=newsfeed

3. And my first production sold in conjunction with my new publisher, Off the Wall Plays, will be a benefit for Stars Unlimited in Liberty, MO. 

This script, which saw the light of day as STAR TRUCK: THE WRATH OF COMIC-CON, thanks to my theater angel, Melanie Roady at her Mel O'Drama Theater in Nashville, was, what I perceived to be fluke. Then again, I felt that way about DEAD TUESDAY, my other murder mystery. So why haven't I written another? Well, I've got some ideas for one, maybe two but possibly three scripts. Even though I'm still working on my book (here we go again), I hope to have something...ANYTHING...put together by the end of summer. If I give myself a deadline, I'm telling myself (and you) that I can do it. So, by Labor Day, one new script. Fingers crossed, thumbs held and cross heart and hope to spit.

Until then, warp drive, Mr. Sulu! Beam me up, Scotty! And put your damn ears down, Spock!

MURDER-THE FINAL FRONTIER is available at OFF THE WALL PLAYS where you can read an elongated preview. Performance rights are definitely available.

For more info, go to my website :

WRITTEN BY SCOTT CHERNEY 

or my previous blogs about MTFF under 

DA PLAYS! DA PLAYS!

Francois Rules!

Call it a twist of fate, pure dumb luck or just the magic of Francois, but lightning has struck again in a

BRING ME THE HEAD OF FRANCOIS FIBIAN!

very significant fashion.  DEAD TUESDAY will have a one night only performance on June 1 in Delton, Michigan,  a benefit show for the Delton VFW produced by the Delton ACT (Amatuer Community Theatre). While that news is wonderful all by its lonesome self,this being the second of now 3 productions of DT this year, the story behind it makes it even more special for me.

I was contacted via e-mail by one of show's directors, Jordan Dimock  (Michael Moray being the other) a short time ago. She had read DEAD TUESDAY and asked if his theater could produce it. Even though it was a one and done performance, I don't take any offer lightly. I'm grateful that anyone would even consider doing my stuff. Sure, I'd like it if there were multiple shows because that means more royalties for moi. What can I say? I'm a stinkin' capitalist but also a starving artist. (By the way, I could use a snack.)

What makes this so swell for me is that Jordan found the script online, which exactly how I got started in this business to begin with. Back in the fall of 2013, the artistic director of the Great American Melodrama and Vaudeville Theater in Oceano, California found my melodrama    SONG OF THE CANYON KID online and wanted it for their summer attraction the following year. Encouraged by this sudden interest in something I had written, I began my long journey and contacting theaters myself and sending out scripts across the country. This resulted in a segue into uncharted waters, that being a distant cousin of melodrama theater, interactive murder mysteries, thanks to my pal Melanie Roady of Mel O'Drama Theater in Nashville. (see post: CROAK AND DAGGER: A FROG BLOG). As a result of my efforts since 2013, my shows, including the upcoming Delton performance, now total 19 productions in 12 different states. And there's more to come. Not too bad for a one man operation, if I do say so myself.  I gotta own this 'cuz it keeps me going in good times and bad.

My scripts are on-line since I have yet to interest any publisher to take me on as a client, despite my minor success on the boards. Therefore, I went the self-publish route and with that great power comes great responsibility...and more time away from the actual task of WRITING. (Sorry. Didn't mean to yell.) But the main thing is, as Thomas Haden Church says to Paul Giamatti in the great film SIDEWAYS, "Just get your work out there, man." So, out of necessity, I took my unpublished (but not unproduced) work out of the dark and put it out in the world. While this has yielded only a few hits as opposed to my own solicitations, it was not only a starting point, but a means to an end. Stepping out of the shadows has done me a world of good.

My thanks to Delton ACT for choosing my show and everyone else who has done so in the past and plans to do so in the future.

And, of course, Francois sends his regards.

For more information about DEAD TUESDAY or any other piece o' writin' I done did, please visit my website: WRITTEN BY SCOTT CHERNEY
or if'n y'all wanna buy sumpin' go to: SCOTT CHERNEY'S STORE
or drop me a line at: writtenbysc@gmail.com (Ethiopian princes need not apply)

Highly Illogical

Leonard Nimoy's passing reminded us all the indelible mark STAR TREK has made on the world. The message of hope and compassion in Gene Roddenberry's creation has contributed to its legacy, especially when delivered by Nimoy as the iconic character of Mr. Spock. This Vulcan entered the immortal realm of modern folklore, a tribute to the actor who portrayed him, a man who conducted his own life with both style and grace.

For me, the death of Leonard Nimoy presented a separate issue.

I have been immersed in penning another murder mystery script, not unlike last year's THE PERILS OF FRANCOIS, which debuted last summer for the Mel O'Drama Theater company in Nashville. This time around, unlike FRANCOIS' pre-fabricated concept, I started from scratch with an idea I've been kicking around for a couple of years. The setting is a comic book convention that features a salute to a parody of STAR TREK. The basic premise is that the William Shatner character is the murder victim.

One of the prime suspects was inspired by Leonard Nimoy and most certainly Mr. Spock. Since the cast size is extremely limited due to a stipulation with the producer, this character was the most likely choice for inclusion besides Capt. Kirk. The difference between my guy and the real deal was that my take on Spock/Nimoy is that he's basically a dick. I envisioned him to a jealous, spiteful sonuvabitch who would like nothing more than put Shatner/Kirk down for the count. In fact, I had been struggling with the ending when I settled on Spocknoy himself.

I had a deadline to meet. This script was originally set for last week, but since it had been postponed, I stuck it on the back burner for far too long. Ramping up again, I tried to complete it back year's end without success. And I had been put in the rareified position of having my show accepted sight unseen, so I had more than an obligation to finish it. I had an actual commitment with a director attached. So, I pushed it back to the end of February, one year to the day that I delivered FRANCOIS.

But as I raced toward the finish line, the first reports came over the wire about Nimoy being admitted to the hospital with chest pains. It didn't look good for him, especially with his previous history and his age of 83. I persevered on the script anyway, not out of insensitivity but more out of inevitability. Regardless of the outcome, I had to wrap this up in a timely matter.

Within a few pages away from the Big Reveal when the designated killer turned out to be.... Leonard Nimoy passed away. The world mourned. I had a sudden burst of conscience. Or rather, my half-conscious conscience woke up and smelled the Romulan ale. I stopped what I was doing and took a much-needed breath.

Selfishly, I thought about how this would affect me and more immediately, my script. I still had to complete my project, but now the possibility of Nimoy's imminent demise became a stark reality. Can I really go ahead and make fun of a beloved and recently deceased figure, even if it had no basis in truth?

Death has a way of spoiling the party. Tragedy plus time equals comedy, as the theoretical math equation states, but how much time? Do the wounds ever heal and if so, what about the scars they carry? 9/11 put the kibosh on everything for years and fourteen years hence, still gives us pause at its very mention in less than reverential terms, prompting the outcry of "Too soon!"

My friend Tom Amo, author of MIDNIGHT NEVER ENDS and FOREVER ME, recalled when he used to write and direct British farces at his theater in Stockton, California:

I started to  worry. Every time I wrote a celebrity reference in one of my plays, they died! Tammy Wynette in BOB'S YOUR AUNTIE....Ann Landers on opening night of BABY I'M YOURS...The other one really hit home was when we were doing RUN FOR YOUR WIFE at Smiler's (Comedy Playhouse), Princess Diana was killed. We had a matinee the following Sunday. It didn't hit us until we had a scene where the paparazzi breaks into the flat to get the photos...and suddenly there was silence from the audience....and you go, "Holy crap...this isn't funny right now. Yeow."

So I ended up rewriting the ending. Spocknoy was no longer the killer. It turned out to be the right thing to do. Was it out of respect? I suppose it was initially, but creatively it actually made more sense. It made everything flow together to a more satisfactory conclusion. He's still an insufferable bastard for the most part, but I gave him touch of redemption by show's end. And I met my deadline (no pun intended).

In all fairness, I can only admit to being a fleeting original cast STAR TREK fan ( actually more of a NEXT GEN-ner). However, I believe that Nimoy's lofty place in geek history is well-deserved. I leave the platitudes to those who could do so more honestly and definitely more eloquently than the poseur who's typing these words. I will attest that his passing and the love that poured out from his many admirers moved me enough to want to want something that he actually inspired in me that much better. And in the end, Leonard Nimoy will be remembered long after my silly little parody has come and gone and that's how it should be.

As Paul McCartney once sang:
Ob-la-di Ob-la-da
And don't forget to prosper.  

UPDATE 5/8/20: The show entitled STAR TRUCK: THE WRATH OF COMIC-CON  went on as scheduled later that year. It has since been re-named MURDER: THE FINAL FRONTIER, been produced across the country and published by OFF THE WALL PLAYS. Performance rights are available.

It's only logical.

2014-Crossing the Finish Line

Outside my window, the sky is clear, blue and the sun is shining. There is also a powerful icy wind that giving us a current temperature of about 19 degrees. That kind of sums up 2014.

For so many, the fact that this year is nearly over and done with is a blessing, as though the changing of the calendar puts everything right again. Time is relative, folks and sometimes, a drunk uncle at that who gets all handsy at family gatherings. The world continues to go ape-shit, chock-a-block with WTF moments from one end of the globe to the other. It's difficult to make sense of it all. What's it all about, Alfie and why the hell am I asking you anyway?

But I had a damn decent year. I feel almost apologetic admitting that to y'all, especially when so many of you wish 2014 never existed. I have always been empathetic to a fault. When bad news permeates the atmosphere, whether personal or widespread, I tend to suppress my accomplishments to the point that they become not yesterday's headlines, but buried in the back archives next to last month's Dog of the Week. Hey, it wasn't a merry-go-round each and every day. However I did find some balance for the first time in years thanks to some good fortune and people in my life. There is the inevitable suck of everyday existence that has pinned me to the ground and drained me of all hope and desire. Then there were those moments-and there were blessedly plentiful-that lifted me up where I belong, where the eagles cry on a mountain high.

At the beginning of the year, I wrote a murder mystery script (THE PERILS OF FRANCOIS) that was produced less than four months later by Mel O'Drama Theater in Nashville. Next Halloween, my latest foray into the same genre is set to premiere, all due to producer extraordinaire Melanie Roady whose website I found by chance last year at this time.

My melodrama, SONG OF THE LONE PRAIRIE, retitled SONG OF THE CANYON KID, was the summer attraction at the Great American melodrama and Vaudeville in Oceano, CA. It was the first time this show had been staged since the 1980s. Next summer in the same exact spot, my first show, LA RUE'S RETURN co-written with Edward Thorpe, will sit in the same exact spot on the calendar on the same exact stage at the Great American.

SONG OF THE LONE PRAIRIE, under its original title, opened in August in Jamestown, CA for the Footlight Theatre Co. with dates running concurrently with the Oceano production.

This has all given me a new lease on life or a renewal of my lease at least because I have aggressively marketing these plays as well as THE LEGEND OF THE ROGUE since then in hopes of more success down the road. i have several irons in several fires that I am trying to warm my coffers without burning myself in the process. I am putting myself out there liker never before so that may reach actual goals I have set for myself and not living off of memories and regret, a diet I don't recommend.The world is my oyster and all I need to do is to shuck it.

What has always helped me in these time of nada damn thing is this family of mine that has blossomed into a full blown garden of love. These guys continue to nurture and amaze me, keeping me afloat in times of nearly abandoning the ship. In better times, they're more important to me than ever. This year, I had the amazingly good fortune to enjoy the company of all three of my grandchildren. A return trip to Colorado at the start of  summer culminated in the exquisite delight of our youngest's, Aefa, third birthday party. A couple of months later, we were reunited with our eldest, Kardena, when she and her mom visited Oregon not two weeks after seeing my show in Oceano. Then my grandson Sebastian, shooting up like a corn stalk so that he can literally see me eye-to-eye, has become my own personal motivational speaker, boosting my way-too-fragile ego lengths and bounds as he always has, but at times when I least expect it. When we had a discussion about his own future, I told him flippantly, yet quite honestly:
"Don't end up like me."
To which he replied:
"What-a successful playwright?"
Damn, I love that kid. I love them all. They've made me want to be a better person or for them, I strive to be.  

If I were to pick a definitive highlight that sits at the very top of 2014, the memory I will always cherish occurred in Oceano when my best friend Ed Thorpe gave me the incredible gift of making this visit to see my show possible. SONG OF THE LONE PRAIRIE (CANYON KID)  had been rewritten since its debut on the Palace Showboat stage with new scenes that never seen the light of day before, in particular an extension of a confrontation between the two principal characters, The Canyon Kid and Darla Darling. The scene was a sad, rather melancholic scene in the midst of all the other goofiness in the script. I'll be goddamned if it didn't work. Thanks to the director and the two actors in the scene-Andy Pollock and Christine Arnold-it put a lump in my throat and a tear to my eye which lead to a moment of complete validation. I knew the jokes would work but I wasn't so sure about the love story. Now I knew. Ultimately, this meant it ain't over for me yet. While I haven't just begun, I am back on the right track and not fermenting like so much kim chee. I still have it in me to move forward onward and upward so 'scuze me while I attempt to kiss the sky...again. Just as I want to be a better person for my grandkids, this makes me want to be better just for myself. The most important thing is that it make me want to TRY.

The Third Act has begun. It started in 2014.

It was the best of times. It was the worst of times. All wrapped up into one.

Happy New Year

Suddenly, This Summer

It began with a frog and ended with a deer.

Such was the summer of 2014, definitely one for the archives. Book-ended by two separate Cherney Journeys, the months between May and September became one extended round trip, one I'd gladly sign up for again.

In May, THE PERILS OF FRANCOIS, the first play I'd written in almost 2 1/2 decades, began its run in Nashville, TN courtesy of the Mel O'Drama Theater for my new friend, producer Mel Roady. This was one mind-boggling experience that prepped for the rest of the season.

This was immediately followed by a return visit to Denver (relayed in the blog: THINGS TO DO IN DENVER WHEN YOU'RE RED) to visit my beautiful Coloradan family who resides there with a grand birthday celebration for my three year old granddaughter Aefa.

In June, SONG OF THE CANYON KID (re-titled from SONG OF THE LONE PRAIRIE to coincide with the book of the same name that no one seems to want to read but if you did you would laugh your spurs off if that's your idea of a good time) premiered at the Great American Melodrama and Vaudeville in Oceano, CA for a summer-long run.

At the same time, the Footlight Theatre Company in Northern California's Jamestown planned to produce SONG OF THE LONE PRAIRIE under its original title at the end of August. Both shows had the same identical closing dates.

Visited in Oregon by more family members from down Santa Barbara way-my step-daughter Tracey and now sweet sixteen granddaughter Kardena-was a sweet week-long visit that had been a long-time coming but so very nourishing for the heart and soul. Just before their stay with us, they had traveled to Oceano to see THE CANYON KID, something else to boost me into the stratosphere. Kardena's favorite gag in the show was one I didn't write, a Harry Potter reference. Oh well.

Many had suggested that I find some way to see the show myself, either in Oceano or Jamestown. I actually didn't think it possible. Somehow that desire had been sent out to the universe because a trip indeed was in my immediate future.

I've known Ed Thorpe for most of my born days. We met in 6th grade at Grover Cleveland Elementary in Stockton and have been not just best friends, but the brothers we never had...and we both had brothers. We've shared laughs, tears, anger, up, down, overs and outs...including a woman. I devoted an entire chapter of my first book IN THE DARK to Ed who I call Max and who calls me Max because we're Maxes to the Max. He's also the one responsible for my foray into melodrama in the first place. He brought me out to Pollardville where we were both gunslingers, asked me to co-write our first melo LA RUE'S RETURN and arranged for me to attend the grand finale reunion when the Ville closed once and for all back in 2007.

Max felt I should see my show and made it a point to fly me down there in order to do that very thing. It is one of the finest gifts I could ever imagine. I don't know how I warrant all this love and generosity from people. It's not false modesty and me playing Harry Humble. I am honestly baffled. Grateful, but confused.
It was Max's intention that we head to Oceano which involved me flying into San Francisco and the two of us driving down in our own version of an Alexander Payne road movie.

At the same time, my wife had decided that this would be a good time to visit her mom and sister in the Bay Area, so we made arrangements to depart PDX within minutes of each other-she on Southwest landing in Oakland, me on Alaska to SFO. And we made it just in the nick of freaking time. Nothing like an ass full of stress to start the weekend right.

So Max greeted me at SFO once I landed and down Hwy 101 we drove, yapping up a storm the entire way and not shutting up until he dropped me back the airport Sunday night. We relived the past, even those things of which we dared not speak.We mulled over the present. We outlined the future. Most importantly, we repaved our common ground which over time was well-worn, full of potholes and needing some necessary repair. I got my brother back and Max got his.

Once we hit Pismo Beach, our base of operations,the world pulled back into focus. it wasn't the town, per se, it was the beach...the California coast that I longed to be near again. The sound of the waves breaking is my mantra, my safe place when life begins to go south. The Oregon coast, beautiful as it is, can't hold a hourglass of sand next to the state of my birth.


The Great American Melodrama and Vaudeville in the main attraction of Oceano, maybe running a close second to the Dunes, the only state park in California where vehicles can be driven on the beach, bu tit certainly is the most popular business known all over the Central Coast. When we arrived Saturday night, it was an event that had to be documented, so I posed wherever I could. Standing before the window display of my show) featuring a stuffed version of The Canyon Kid's horse Thunder), Nova Cunningham, the artistic director of the Great American who chose my script, approached  and greeted me with open arms. She brought me into the theater before the show where the cast was warming up with vocal exercises and introduced themselves one by one. What a good looking group this was and surrounding me around the swell set of the THE CANYON KID. This was the set I didn't have when my show premiered back in '87, that's for sure. No wonder I looked like a proud papa in those shots.

As the show began, I noticed the changes they made right away. Additional songs were obvious as well as some altered lines (more than just Harry Potter references). This made my mind race back to a time at Pollardville when Tim Kelly, one of the most prolific melodrama playwrights in the the business, had been flown up to Stockton for the opening night of THE RATCATCHER'S DAUGHTER. it was one of those miracle opening nights when nothing worked all Hell Week long, but once we got in front an audience, the magic happened. When I met the author in question, I was so giddily excited that I grabbed my copy of the script to show him what we-actually mostly me-had done to it.

"Look! We cut this scene and that scene. We turned this character into a male. This character here we just cut completely out. Totally unnecessary!"

I asked him to sign it for me and handed it to him. Stone faced, he scribbled the name "Kelly" and thrust it back at me.

Oops.

Well, whatever goes around... Thirty years later, here I sat watching SONG OF THE CANYON KID minus a character, lines changed, songs added and I could not have been more delighted. Their adaptation was wonderful, doing justice to the material and giving life to a show that not seen the light of day in this century. Lee Anne Mathews' direction ran circles around mine. Her staging of certain scenes, particularly the attempted hypnosis of The Canyon Kid by Nastassia Kinky (Emily Smith) became a delirious tango in her hands and choreographed brilliantly. Some of the changes improved the show, while others, to be frank, did not. (My fight scene kicked major ass. Nyah!) But the cast was top notch all the way. Andy Pollock and Christine Arnold totally embodied The Canyon Kid and Darla Darling. There is an extension to their first scene together that was not in the original 1987 script. I added it later when I published it and has never been performed. I had to wipe a tear from my eye because in their hands, it was pretty damn touching if I do say so myself. But I have to say that the show was sent into the stratosphere by Katie Worley in the role of Charlene Atlas. She totally transformed this character, hysterically stealing each scene to the point that I couldn't wait for her next entrance to see what she do next. I would have to say Katie gave the best interpretation of anything I've ever written and one of the finest comic performance I've ever seen on the stage. And to top it all off, she'd only been with the show for a couple of weeks after her predecessor had to leave the cast unexpectedly and Katie, a veteran Great American performer, Amazing. When the curtain fell on SONG OF THE CANYON KID, I leapt to my feet and gave this fine cast a triumphant standing ovation I believed they deserved. I was probably clapping for myself as well My step-daughter Lindsay would call this "a victory lap".

It turns out that the cast have triple and sometimes quadruple duties at the theater outside of performing. They seat the audience, run the concession stand, then when everyone has cleared out, they clean the auditorium. There's no way in hell we would have done that back at the Palace Showboat. Maybe these guys are paid better, but I personally it to be a major pain in the ass to be the Major Domo before I stepped out on stage as MC. Sure, they are probably paid far and above whatever we were making, but still...

After being treated as King for a Day-or Night,rather- I gave my hail and farewell to these fine folk and hugged each and everyone of them  I even sought some of them out just say they too could have a genuine Scott Cherney embrace. They really were quite a special bunch. Damn kids anyway. The evening ended in true California style at the In-n-Out Burger drive-thru for a Double Double after show dinner.

The long drive back to the Bay Area on Sunday afternoon culminated when Max and I wrapped up the weekend with a huge honking steak dinner before we made our goodbye. We went our separate ways, but forever entwined in true brotherly bond that was reinforced with cement by the incredible gift of his for which I am eternally grateful.

I returned to PDX with a smile on my face that some day may have to be surgically removed, Hopping on the Economy parking lot shuttle in front of the terminal, I, along with my fellow weary travelers, were welcomed back to Portland by our driver, Bob, whose voice sounded like an older version of Chris Farley's character Matt Foley character. It was apparent that he couldn't wait to back to his van down by the river. And for some reason, he decided to toss in a little shuttle driver humor along with the ride.

"What do you call a deer with no eyes? No eye deer."

While the other passengers chose to ignore this, but I just had to chuckle. Yep. I was back in Portland alright.

I drove home in my wife's VW Bug and was just around the corner from I where I live when something slammed up against the car on the driver's side. It was louder than it was forceful since I didn't lose any control at all of the steering. I didn't see a thing and thought I ran over something, but I checked the mirrors and saw a flash of brown fur galumphing away and disappearing into the night.

Apparently it was a no eye deer.

Fortunately, I was unharmed. Unfortunately, the car has a broken fender, a severely dented door and a broken headlight. Bambi? I haven't a clue. Couldn't find him, but somehow I think he was going to feel that bump the next day.

And just like that, summer ended and fall fell.

Curtain

More Yin, Less Yang

Here we are at the mid-point of summer already. Time flies when you’re not paying attention.

Prop from THE PERILS OF FRANCOIS

Life is a funny thing with that yin, yang and the whole dang thang. On one hand, it’s a nightmare of apocalyptic proportions…Malaysian airliners shot down or just disappear altogether, Iraq is back, my hometown of Stockton turns into a sequel of the film HEAT adding much tension and chaos to natural disasters such as fire season, drought and hey, are the locust on stand-by? Mix this up in a blender with the stresses of everyday living in the 21^st century and you’ve got the draft of a suicide note ready to be posted in your Facebook status.

Then…there’s the good stuff, the things that fortunately are weighing in on the good side to provide balance in this cockamamie world-family, friends, home and everything that floats our collective boats

AND…THE BLESSED EXTRAS…

For me, it’s been the production of my plays this summer, something I’ve been striving for since the dawn of the planet of the Cherney. 

THE PERILS OF FRANCOIS just wrapped up in Nashville TN for the Mel O’Drama Theater company. My thanks again to the cast, crew and especially producer Melanie Roady for this unique opportunity. I’d never written a script on spec before, let alone a murder mystery. It was also a challenge trying to collaborate from opposite sides of the country, but apparently, it all came together.  Me in Nashville…who da thunk it?

Andy Pollock and Christine Arnold in SOTCK, Oceano style

Then there’s SONG OF THE CANYON KID at the Great American Melodrama in Oceano, CA that is currently running through September and has picked up three…count ‘em…three great reviews.

REVIEW#1

REVIEW#2

REVIEW#3

The fact that I’m not mentioned in any of these write-ups is beside the point. However…

SONG OF THE CANYON KID WAS WRITTEN BY SCOTT CHERNEY

So there
.

What was really nifty, keen, cool and boss-o was that these two shows were running at the same time. Never happened before, but hopefully will happen again.

In the meantime, the same show, SONG OF THE CANYON KID under its original title SONG OF THE LONE PRAIRIE or POEM ON THE RANGE is set to open August 29 in Jamestown, CA for the Footlight Theatre Company at the same time the Oceano show will still be playing. In fact, they close on the very same night.

Quite a coup, eh wot?

It would be even sweeter if I could just garner a few decent sales for the novel version of said play, SONG   

OF THE CANYON KID, a western comedy romance. This sucker has FLATLINED.It’s a goddamn shame. I think it’s a good piece of work and I haven’t been able to even give it away. (That’s not true. There is a giveaway for a free copy on Goodreads. See below.) It even got a good review all by itself.

CANYON KID BOOK REVIEW 

See?

There’s that yin and yang again.

So there’s been a lot of yin this year, but far too much yang. I’m grateful any yin I can have or can get, but to provide balance and that I don’t go sliding into a big steaming pile of yang…

MORE YIN PLEASE!
That goes for the rest of y'all too. Be good to each other. And for corn's sakes, be good to yourself too.

SONG OF THE CANYON KID is now playing through September 20 at the Great American Melodrama and Vaudeville in Oceano, CA 

SONG OF THE LONE PRAIRIE opens August 29 at the Footlight Theatre Company in Jamestown, CA

SONG OF THE CANYON KID, the book, is now on sale at Amazon

Croak and Dagger: A Frog Blog

Where the hell have I been ?

As of late, my on-line presence has diminished to a few paltry, however pithy posting on Facebook while this blog has dried up quicker than a California water bed (a reference both timely and outdated).

The truth of the matter is I've been spending some quality time with my new frog friend. No, I didn't get a new pet and I'm not having an acid flashback. I don't think. Wait. No. I'm fine.
A few postings back I announced that my play SONG OF THE LONE PRAIRIE ( re-named SONG OF THE CANYON KID to coincide with the new book) is being produced this summer at The Great American Melodrama and Vaudeville in Oceano, California.One of the sweetest things about this is that they contacted me. I didn't solicit them.

After receiving that swell news, I took the bulls by the bouillon and sent out this script along with LA RUE'S RETURN (which I co-wrote with Ed Thorpe) to some other theaters specializing in melodrama across the country. Even though most of them picked their 2014 seasons already, I jumped the gun and submitted them for 2015. Currently these two works o' mine (and Ed's of course) are being considered at theater companies in Colorado, California, Texas and even here in Oregon for next year. I guess my query skills have improved since I got a lot of bites when I cast my line in these waters.

One establishment I contacted was actually named Mel O'Drama Theater located in Nashville and son of a gun if I didn't get a bite. Melanie Roady, the owner/operator/namesake of M O'D had particular interest in LA RUE, but after reading it decided it didn't fit her particular format. You see, her group specializes in interactive murder mysteries, something I would have known if I had only read the website instead of taking the name at face value. What do you want from me? If I go to Barney's Beanery, I expect to see beans on the menu, not cupcakes.

However, Mel had a proposition for me. Would I like to try my hand at one of her shows based on her outline? Oh and by the way, the main character is a frog who solves the crime.

"Why sure," I agreed. "Wait a hippity-hoppity second here...a frog? A frog frog? Is this a Muppet murder mystery? Oh, a frog man. Like a scuba diver. Nooo...a man with frog-like characteristics. Okayyyyy...."

Francois is a character created in a series of paintings by artist Jann Harrison who also resides in Nashville. Jann has conceived a whole mythology that go along with each piece she's painted. So Francois is a suave, debonair bon vivant who is, to use her words, "a man in transition".
 http://www.jannharrison.com/

I agreed to pen a script but I was under a very tight deadline and the challenge itself proving rather daunting. Murder mysteries are not my first love and red herrings do not sit well in my tummy tum tum. Then to transform this man-frog, frog-man, lily pad lover to the stage and make him palatable as a main character was just icing on the fish cake.

What prompted me to continue was that the story was set in New Orleans, the same setting for LA RUE.which is what interested the producer in the first place. I'm crazy in love with the culture an lore of  N'Awlins and had the good fortune of just finishing up the finale episodes of TREME and the current season of AMERICAN HORROR STORY (which unfortunately ended very weakly). So I added Mardi Gras to the storyline as well as a touch of voodoo here and some Cajun spice there.
After two and a half weeks of banging my head against the wall trying to figure out the intricacies of who killed who and with what and how , I turned in a script with two possible endings (different killers for different nights). Challenge accepted, challenge met. Now it's time for some fine tuning.

What I didn't realize is that the show has already been pre-booked. Mel Roady got shows lined up for this froggy lil' epic beginning APRIL 12! And there's my name, prominently in the credits.

Such is the power of networking. I scored another gig. 2014 will see two separate productions on either side of the United States written by (ahem) Scott Cherney.

And I'm hungry for more

UPDATE: THE PERILS OF FRANCOIS has been re-named DEAD TUESDAY,  thanks to Jerri Wiseman of the StageCoach Theatre Company

DEAD TUESDAY is available at SCOTT CHERNEY'S STORE or to read a free excerpt go to my website WRITTEN BY SCOTT CHERNEY

Performance rights are available. For info, write to me : writtenbysc@gmail.com

Tell 'em Francois sent ya.