BRUISERS SUCCESS

A brief word from Jacob

In the evening since we've closed, I have asked a good dozen people what their favorite part of Bruisers was. I have not heard a single repeat of an answer to that question, nor any repeats in the reasoning why. I've had folks go into deep analysis of numbers I thought they'd skim past altogether, and even discussions where my understanding of a number (including numbers I wrote) was subverted completely by the insight the audience member brought. I'll tell you right now, that isn't my fault. Our songwriters' effective understanding and incorporation of the prompt in their work, the rock-solid vision of our director, long nights from our music director, and countless working hours from students and parents alike made Bruisers a hit.

I do call Bruisers a hit, as much as I can without being pompous. This is not because it sold out, or because the audience had some real positives to say about it. It's because (I've been told) Bruisers prompted meaningful conversations from that audience among themselves and their families after they left. At the end of the show, the Jockey (the show's host, a personification of youth and its passing) subverts the prompt given to our songwriters and turns it on the audience. I'll attach that here:

"The moment we started talking about questions like [the prompt], about our values, we made a conscious choice to begin our term as the decided person we’ll be for the rest of our lives. The lot of you did, too: forget the stupid stuff we kids always latch to, but, at your core, you are the same men and women you were when you were eighteen. Every one of you. You make a daily effort either to serve or not serve the values that kid committed to, wrapped in naïveté and foolishness as he was."

I get a little pretentious after that.

"Think about that kid. That kid you were.  [Referencing HIMSELF:]   He’s standing in front of you. He doesn’t have my face. He doesn’ have my voice. But you can see him, if you really try, and he is staring right back at you. Tell me, would he be proud?"

I watched grown men and women think about that question for a second, and then cry. They went home, and talked to their kids about it. Said kids came in the next day a little brighter than they were previously. This is what I'm proud of, and I am indebted to everyone involved in its making. 

A million thanks to Tyler Pierce of the Unity Church of Tucson for our incredible rehearsal space and Kevin Larkin of the Catalyst Creative Collective, our venue. Both of these establishments have been nothing short of fantastic to work with, and their support for the arts has been a joy to fall under.

In addition, I'd like to thank Ericka Quintero, all students who submitted songs or tapes, Kailey Krogstad, Cathalena E. Burch and the Arizona Daily Star, Kaitlin Bertenshaw, Adam Harris, Tommy Irish, Alana Ortiz, and Nate Wiley. It takes an army of good people to get a show off the ground, and your contributions in consultation, publicity, feedback, and enthusiasm do not go unnoticed.

As for the cast, crew, and creative team:

Bruisers is Grace Christian, Gavin Evanson, Brennan Garza, Amber Hancock, Chloe Harris, Moss Konrad, Sadie Maddox, Holden Salica, Sylas-Richard Stuart Smith, and Kellen Tanner.

I can only give rave reviews for each of the actors involved. You have been a blessing to work with: you were prepared and responsive at a professional level. It's a strange effect, seeing your words be put to performance for the first time; I could not have asked for a more capable set of voices to do it. Keep at it!

Tech was Sophia Castaneda on props, lights, and sound (God bless you), and Julia Jonas recording the event, both of whom were timely, receptive, and worked well on a quick time frame. Sophia in particular dove into her breadth of work a week prior to opening, and did so flawlessly. Great work to you both.

    Lastly, our student writers: Vi Trapp ("Doves", "Take Me Down"), Grace Christian ("Chelsie's Lament"), Joleen Byrd ("Taxes In Space"), Johanna Villanueva ("Goodbye Alexander"), Chloe Harris ("Between The Lines"), Isis Rivenbark ("Hiraeth"), Andrew Coss ("How To Get To Heaven"), and Luca Cafiero ("Developing Rabbitlike Tendencies"). This show was a terrible pitch. Essentially, we asked that you please write half of a show that doesn't exist yet. I do not know what drove you to such confidence in this project and this company as to submit such incredible songs, but I thank God every night that you all did. I continue finding new meaning in your lyrics and keep getting your melodies stuck in my head. Our audiences can relate. Thank you, and do not stop writing.

Now, let's see some of the fruits of our labor!

And, my personal favorite:

    Now, we move forward. We'll be releasing clips of select numbers on social media. A live audio recording of Bruisers was taken during both performances, and we're in the process of editing and cutting it to be released on music streaming services, out of popular demand. In addition, we're polishing the script, and plan to release it in some capacity for other companies or schools to be able to perform it. More updates to come, but, to put it simply, the lifespan of Bruisers does not end here.

    As for the Company itself, we have several projects in the works, including both a smaller event and our mainstage, which we hope to produce this summer. No spoilers just yet. Yesterday, we closed Bruisers. Tonight, I catch up on homework. Tomorrow, we start writing the next one. Can't wait to work with you all again. We will.

On a deeply personal note: I wrote, produced, and performed in this show as I turned eighteen. Bruisers asks us to assess the values of our childhood we'd like to commit to as we grow up, despite how uncertain growing up is. In a nice way, it's informed my own answer to that question. Bruisers and everyone associated with it helped me become an adult. Whatever comes with that, I'm sure I'll be okay. Thanks, gang.