Hair highlights

I love when projects are mutually beneficial and everybody wins. Dance (212) was documenting my summer and as a result of that I was able to get high quality footage from the final dress rehearsal of Hair. A little imovie editing and presto, instant highlight reel! This is an incredible show and I'm so grateful I got to play around and put my own spin on it! And as you can see, the cast is living!

Hair-Production Photos

Some shots of my Woodstock production of "Hair". First professional show that I did double-duty as director/choreographer. So special to me, so happy to share it with the world. Photos by the insanely talented Matthew Wright of Fig Tree Photography.

Dance (212) Teaser

It premieres September 19th, but the teaser episode and dancer profiles are now live.

I've been documenting my projects for a few months now and it's amazing to see the individual dances in the context of a larger whole. I've been productive. Made some cool things. And now they're about to be released to a larger audience. Psyched.

"Dance elevates...everything. When there are no more words, that's when people move."

-Dance (212), me

Not too shabby first soundbite!

Another first, and taking stock...

Almost one year ago (August 30th, to be exact), I made my NYC choreography debut with my piece "Sunday Interlude, NYC" at the inaugural Band of Gypsies showcase. I'd choreographed before. Assisted on some shows, choreographed some other shows for children's theater or for actors that sing. "Sunday..." was, however, the first time I flexed my choreographic muscles because it was the first time I staged something for dancers based entirely on my vision and their full capabilities. Also the first time I presented my work in NYC.

Since that piece things have been happening. I created dances for the short films The Expressionists and Sounds of Oud. I presented new work at two more choreography showcases (Band of Gypsies 2 and Choreographer's Canvas 2011). I taught classes to friends on my own initiative and also as part of a series for R.Evolucion Latina and the Orlando Ice Cream Social. I assistant directed Broadway Bares: Masterpiece for Josh Rhodes and his associate Lee Wilkins. I made my director/choreographer debut this summer with a production of Hair at Woodstock. I am currently working on two projects; documenting all of this work for a reality web-series Dance (212) produced by DanceMedia and also choreographing a production of Camelot for the John W. Engeman Theater. And today, for the first time, I appear in a playbill.com article as a choreographer. Not too shabby for my first year on the gig.

Just taking stock of where I've been in the past year. Feeling grateful. Camelot press release below...

Engeman's Camelot Casts Jim Stanek, Kim Carson and Jarid Faubel

By Adam Hetrick
02 Sep 2011

Jim Stanek

Jim Stanek, Kim Carson and Jarid Faubel will find themselves in a royal love triangle in Lerner and Loewe's Camelot at the Engeman Theater in Northport, Long Island.

The Tony-winning classic, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe, will begin previews Sept. 15 and run through Nov. 6. Alan Souza will direct, with choreography by Sidney Erik Wright and musical direction by Jon Balcourt.

Stanek (Broadway's Lestat, Little Women) will play King Arthur, with Carson (Little Women at the Engeman) as Guenevere and Faubel (Perfect Harmony) as Lancelot.

The principal cast will also include Jeremy Morse (Engeman's My Fair Lady) as Mordred and David Benoit (Avenue Q, Les Miserables on Broadway) as Merlyn/Pellinore.

The ensemble includes Michael Andrako, Michael J. Borges, Melissa Chaty, Kara Deyoe, Evan Flannery, David Garry, Kyle Hines, Kelly Marteney, Jake Odmark, Jared Ross, Chloe Sabin, Joseph Stark, Jackie Washam and Nathan Winkelstein.

Camelot will have scenic design by Todd Edward Ivins, costume coordination by Megan A. Moore, lighting design by Joel E. Silver, sound design by Craig Kaufman and hair-wig design by Mark Adam Rampmeyer.

The 1960 musical Camelot marked the final original stage collaboration between lyricist-librettist Alan Jay Lerner and composer Frederick Loewe. The musical boasts such classics as "If Ever I Would Leave You," "Camelot," "Before I Gaze at You Again" and "I Loved You Once In Silence."

For tickets phone (631) 261-2900 or visit EngemanTheater. The Engeman Theater is located at 250 Main Street in Northport, Long Island.

Press! I've got press!

Yay! Getting to do fancy interviews! Photoshoots! Radio talk shows! I could get used to this...

They got life

Woodstock Playhouse revives Hair opening this Thursday

byPaul Smart

August 04, 2011 10:21 AM | 0 | 3 | |

As director Sidney Erik Wright puts it, ten days into repertory rehearsals for the new production of Hair coming to the Woodstock Playhouse this weekend, by the time he showed up in town, the 18 cast members who started performing in A Chorus Line two months ago were already close enough to be the “tribe” that centers the now-classic musical from 1967. But that doesn’t make the challenges of a partially vertical set, complex ensemble songs and tight choreography made to appear freestyle any lighter.

“Wow,” says a young woman, perched on top of a theatrical brick wall in the urban oasis depicted onstage, “it’s very high up here.” Nevertheless, within minutes everyone’s leaping up into standing positions onto the set’s walls, or finessing aided flips and balletlike rises off them. Wright allows everyone to play onstage – their first time within the theater since Anything Goes closed last week. Then he asks them to take five and reassemble.

A folk ballad, Jonilike in its plaintive evocation of a past generation’s lost innocence, plays quietly over the theater’s speaker system. Then Wright gathers everyone into a silent, handholding circle, heads touching together at the center. Over the next hour, actors work out their set pieces on “the levels,” getting comfortable with leaps and jumps and figuring out who needs to spot whom for some of the more possibly dangerous moves that will be taking place. Throughout this process, the songs are half-sung just enough for the power of this musical, whose soundtrack albums once seemed to fill every home in America, to reassert itself.

“This is the dawning of the Age of Aquarius,” the ensemble sings as a gate’s locks are cut and the tribe enters an urban garden rendered at that point where it’s returning to nature. Things move on to the still-irreverent “Donna,” an ode to a 16-year-old virgin; an ode to illicit drugs, “Hashish”; and “Colored Spade,” in which the character Hud outlandishly suggests the eventual presence of a black president.

The tech crew gets called in to fix some coverings on the upper platform levels; a props person okays a cast member’s request to sew patches onto his satchel. Wright reorganizes one piece of choreography from free-form circle dancing to a step-step-hop move with individualistic arm motions. Another popcornlike response to the listings of the song, “Ain’t Got No,” snaps into resplendent focus after several run-throughs.

The last time that I saw this troupe, a few weeks back, they had just gotten on this newly revived stage for the first time in rehearsal for A Chorus Line, the triumphant season-opener for the region’s first new summer stock season in decades. Now Wright is telling me how excited he is by the “real place” set with which he’s working here, instead of the more stylized stages on which Hair has been performed in recent years.

“I know the musical from its revival put on by the Public a few years ago,” the director says, dismissing the liberties taken by Miloš Forman’s film adaptation of the late 1970s. “Given how essential the idea of ‘the tribe’ is to this, I couldn’t ask for a tighter ensemble to work with.”

Yes, I later realize how many people played in Hair over the years, from co-authors James Rado and Gerome Ragni (music was by veteran songsmith Galt MacDermot) to Ben Vereen, Meat Loaf, Diane Keaton, Keith Carradine, Melba Moore and Tim Curry. But all blended into the tribe – just as individual productions, starting with its premiere at Joe Papp’s Public Theater, were inevitably trumped by its dozens of touring productions throughout the US, Canada and Europe, designed as much to end the war in Vietnam as the gathering of fame and riches.

But enough of such musings; Wright has called for silence. A run-through of the first half of the first act of Hair is starting, and being the only audience member, I’m assaulted by an endless stream of characters, all making their tribal points about breaking all that came before and loosening up. I get mooned, jeered, kissed and waved at – but also enthralled at the bright enthusiasm and total vigor of the performance, from all ends. Who cares, I think, readying to leave as Wright reads notes on what we’ve just witnessed, if the cast is going to need wigs? “Flow it, show it, long as God can grow it,” run the lyrics, “my hair...” And all our lasting images of the ‘60, and that lost promise now descended into constant Congress-watching, are encapsulated and carried forward to us by this single piece of theater.

Hair plays in summer stock at the Woodstock Playhouse Thursdays through Sundays from Thursday, August 4 through Saturday, August 13, with eight performances including a special Wednesday matinee on August 10. The Woodstock Playhouse is located at 103 Mill Hill Road, near the gateway to Woodstock, with a box office open Wednesdays through Fridays from 2:30 to 5:30 p.m. For further information and online reservations, call (845) 679-6900 or visit www.woodstockplayhouse.org.

Guest Class-R. Latina

Today's my birthday, so as I take stock of how far I've come in the past year (and it's been a HUGE leap forward), I thought I'd post a class combo that I've had on tape but not online. After the R. Latina Choreographer's Festival (where I performed as a dancer in 5 pieces), the company began a series of masterclasses for the performers to continue their training. I volunteered and in July I got the chance to teach a group of my fellow performers some musical theater dance. I went with the combo I'd choreographed for the "Band of Gypsies" masterclass, the one where nobody came to take. This time, people came to take! 8 people for the warmup, then 6ish stayed to do the dance. Felt good to have this ever-growing reputation and an ever-increasing class size! And the talent is ridiculous. Here's the combo, danced by some incredible ladies! Definite forward momentum!

Band of Gypsies 2-The Race: Production Photos

The uber-talented Nicholas Ziegler captured some fantastic moments during the tech rehearsal. I love when the physical pictures I create inspire some breathtaking images from a fellow artist. Movement captured into a preserved moment. Another person's creative perspective illuminating thoughts in my own. It's cool. Collaboration is fun!

Broadway Bares: Masterpiece (recap)

After three years on the performing end of Broadway Bares, I was invited to help out on the production side of things. Little did I know how MUCH I would end up helping. Josh Rhodes and Lee Wilkins asked me to be their assistant director on the show. I did pre-pro for a few numbers (and was the 'official' associate choreographer for the opening number, "Going Going Gone") and once rehearsals started threw myself into a few pieces as a kind of universal swing. And it's a good thing because 5 days before the show I found out I'd actually be performing in it. Danced in the "American Gothic" number by the fabulous Dontee Kiehn and also helped out in the Monet "Water Lillies" piece. All the while trouble shooting/solving problems/putting out fires and doing my best to make Josh and Lee's life easier.

The show was a massive unqualified success. Artistically it raised the bar for Broadway Bares. Financially it raised the bar for Broadway Bares. The full press-release recap is below. I'm forever grateful for being given the chance to assist on this incredible night of theater and fundraising. It was one of the greatest professional highs of my life so far. Thank you Josh and Lee for bringing me to the party!

Broadway Bares XXI: Masterpiece, the modern-day burlesque spectacular featuring 192 Broadway dancers, made history Sunday by raising a record-breaking $1,103,072 to benefit Broadway Cares/Equity Fights AIDS.

Last year's 20th Anniversary edition of Broadway Bares had set the previous record at $1,015,985. The first Broadway Bares, in 1992, featured seven dancers stripping on a bar and raised just over $8,000. To date, the 21 editions of Broadway Bares have raised more than $8.6 million for Broadway Cares.

Broadway Bares, created by Jerry Mitchell (Catch Me If You Can, Legally Blonde) who serves as executive producer, is produced by Broadway Cares/Equity Fights AIDS lead by Producing Director Michael Graziano. This year’s edition was conceived by director Josh Rhodes (Company at the New York Philharmonic, The Drowsy Chaperone, Working at the Old Globe Theatre) and associate director Lee Wilkins (Spamalot, Wonderful Town).

Jerry Mitchell said: “This was the most expressively beautiful edition of Broadway Bares in its 21 year history! When this many people come together for an event this large, for something that literally exists in the heat and light, the sweat and mist for just one extraordinary night. It simply takes my breath a way. It’s such an affirmation of life! It’s coming together as a community and taking care of each other. It’s what Broadway Cares/Equity Fights AIDS stands for and what Broadway Bares is ultimately about. I feel blessed to be a part of it all.”

Broadway Bares XXI: Masterpiece flipped the traditionally staid art auction into a racy, risqué and altogether sexy parade of art-come-to-life provocative paintings and seductive statues, serving up a modern-day burlesque spectacle featuring Broadway's hottest dancers.

Highlights from Broadway Bares XXI: Masterpiece included:

• Tony Award-winner Beth Leavel (Baby It’s You) opened the evening's auction house with a provocative original song "Going, Going, Gone," written by Matthew Sklar and Chad Beguelin (Elf and The Wedding Singer). When Leavel introduced one of history’s most beloved pieces of art, Michelango’s "The David," the crowd roared as one of Broadway’s most beloved stars, Tony and Emmy Award-winner David Hyde Pierce (La Bête) was revealed in white suit and fig leaf.

• Joshua Buscher (Priscilla Queen of the Desert) and an army of revolutionary soldiers recreated the historic painting Washington Crossing the Delaware in a scorching number that made even the most disenchanted citizen come to full salute and feel surprisingly patriotic.

• Beautiful full-figured women took to the stage in a tribute to Dutch painter Peter Paul Rubens, who was known for his fondness of painting luscious plus-sized models. Christine Danelson, Michelle Dowdy and Katy Grenfell led 22 dancers in a sexy display of femininity that left the crowd cheering for more of more.

• Tony nominee Robin De Jésus (La Cage aux Folles) played a mischievous frog in a game of bootie hide and froggie seek with Memphis' Andy Mills and his group of country boys, set in a Monet-inspired lily pond.

• 
  
• Finger painting took on new meaning as choreographer Michael Lee Scott channeled Pablo Picasso's abstract expressionism and six painters tossed aside their brushes and their inhibitions and literally took matters and paint into their own hands on a muscular canvas.

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• An intimate, sensual dance, inspired by Belgian surrealist René Magritte lifted off the ground, giving way to a trio of aerialists from the Living Art of Armando who performed a jaw-dropping routine requiring both tremendous strength and extraordinary grace as they hung high from umbrellas above the crowd.

• The Broadway Bares audience was left screaming for more after an S&M-fueled number, inspired by Edvard Munch's The Scream and Edgar Degas' love of ballerinas, which featured a stellar turn by Reed Kelly (The Addams Family) and choreographer Melissa Rae Mahon (Chicago).

• Special guests included Roger Rees (The Addams Family), Rory O'Malley (The Book of Mormon) and Jim Parsons (The Normal Heart) and Christopher Sieber (Chicago) and notorious New York Post columnist Michael Riedel, appearing in hilarious and irreverent sketches written by Hunter Foster (Million Dollar Quartet).

• Sister Act's Tony-nominated Patina Miller led the full Bares company in the evening's high energy ”Final Masterpiece,” an uplifting homage to the Broadway musical Sunday in the Park with George and its subject, A Sunday Afternoon on the Island of La Grande Jatte.

The evening featured 192 of the sexiest male and female dancers from Broadway baring nearly all to benefit Broadway Cares in works created by 13 extraordinarily talented and passionate choreographers, including Armando Farfan, Jr., James Harkness, Nick Kenkel, Dontee Kiehn, Stephanie Lang, Melissa Rae Mahon, Barry Morgan, Rachelle Rak, Josh Rhodes, Jon Rua, Michael Lee Scott, Mark Stuart and Lee Wilkins.

Tony-nominee Judith Light (Lombardi) saluted the dancers in the evening’s finale. Speaking to a cheering crowd of more than 3,000 people at the first of two performances, she said: “What we do tonight makes a huge difference to hundreds of thousands of men, women and children across the country facing the challenges of living with HIV and AIDS. On behalf of Broadway Cares/Equity Fights AIDS and the Broadway Bares team, remember that safe sex is hot sex – and that we can best love each other by always remembering to protect each other. Then what we do together will indeed make a difference.”

Presenting sponsor M·A·C Viva Glam delivered a $200,000 check presented by M·A·C’s Senior Vice President and Creative Director James Gager, who also saluted the extraordinary skills of 70 M·A·C make-up artists who volunteered on the show.

Broadway Bares is the hotly anticipated annual event combining the naughtiness of burlesque and the razzle-dazzle of Broadway. The 2011 edition was held at Roseland Ballroom, 239 West 52nd Street, with two performances on Sunday, June 19. For more information and merchandise, visit http://broadwaybares.com.

Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources and generosity of the American theatre community, since 1988 BC/EFA has raised over $195 million for essential services for people with AIDS and other critical illnesses across the United States.

BC/EFA awards annual grants to more than 400 AIDS and family service organizations nationwide and is the major supporter of seven programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Al Hirschfeld Free Health Clinic.

For more information, please visit the Broadway Cares online http://broadwaycares.org

The Lady in the Street-Choreographer's Canvas 2011

Official video debut! I LOVED working on this piece. So many artistic challenges. The is the longest number I've choreographed to date. It's the most complex plot I've developed. A number of costuming elements. And we threw this baby on its feet in three rehearsals. Band of Gypsies consumed my calendar and took a priority so I had to focus on developing that piece. When "The Race" premiered, I had one week to get in the studio and make "The Lady in the Street" happen. And I got my people together. And we made it happen. And it was glorious.

I've gotten some great feedback on this piece. I feel like it made an incredibly strong impression in the context of the show and opened some really fantastic doors for me professionally. But more importantly, it feels like a success artistically. This is the kind of work I want to do. Looking at it with some perspective now, there are some tweaks I would make. But the core of the number feels solid and I'm so incredibly proud of the work and of the dancers that brought it to life. So grateful.

Choreographer's Canvas 2011 Production Photos

Still waiting on that footage but until it arrives I can tease out the piece with these production photos that the amazing photographer Ilan Harel was able to grab at the concert. I'm amazed that at ONE performance only we were able to capture these shots. It's a tribute to the photographer, to my dancers who KILLED it, and I guess to my choreography which had some really strong lines and moments that read. Very clean. So grateful to everyone who helped this piece come to life and to the Group Theater, Too which produced the evening. It was a memorable night.

http://ilanharelphotography.smugmug.com/

The Expressionists highlight reel

So this is an oldie that I never got around to posting. In one of those random project-generating modes I handed my card out to someone at a Starbucks when I overheard him talking about directing a show. He in turn gave my info to one of his students that was working on a short film. She contacted me and brought me on board. I love when work just falls into place like that!

The movie was a silent film where a modern man wakes up in a world where everyone communicates entirely through vaudevilleian-style movement. He has to learn the rules of this environment by interacting with the other inhabitants. Eventually he discovers how to inhabit the space. The director had an amazing cast of actors from the Signature Theater Company's production of "Orphan's Home Cycle" and I put them through their paces with some pretty involved choreography for non-dancers. We rehearsed and shot it and the director entered it in her school's film festival where it earned her the Best Director award and nominations in the Best Picture and Best Editing categories. Really fun experience staging for the camera and I had a blast and learned a ton! Below is a highlight reel of my contributions to the movie. Just a rough sketch of the plot and some fun choreography moments. Enjoy!

SOUNDS OF OUD Production Stills

One of the things I'm currently wrestling with is having one foot in both the performing and choreography worlds. Both demand a fair amount of attention and for most of the spring I've been planning my audition schedule around choreography commitments. Not going out for certain projects because they conflict with a summer gig. It's been hard balancing the two. That's why "Sounds of Oud" was such a fun film to work on. It was a dramatic short where I was hired as an actor but because of the nature of the story I did a fair amount of choreography work as well. My talents in one world contributed to my work in another. Love that synergy!

The shoot had two dance sequences, both fairly freeform but crucial for creating the mood in the scene. One was a romantic partnering of the lovers in the moonlight. The other was a seductive middle-eastern belly dance. I did youtube research and was living at the gym to prepare for the shoot. Here are some production stills so you can see the results yourself!

SOUNDS OF OUD

with Sidney Erik Wright and Al Nazemian

Directed by Ibi Ibrahim

NOOR Productions

Choreographer's Canvas 2011

Debuting ANOTHER piece. I gotta say, I feel like I'm really starting to get some nice momentum. This showcase features 15 great choreographers and it's new and different to consider them my 'co-creators' instead of 'people I want to hire me.' Rebecca Thomas, a choreographer I just danced for with R.Evolution Latina, is also presenting. In the space of a month I went from performing FOR her to presenting a piece ALONGSIDE OF her. That's kind of a cool transition!

I'm really excited about the number I'm presenting for a number of reasons. It will be the LONGEST number I've choreographed so far. It has the most complex story of anything I've worked on. There's some really fun costuming moments. Very athletic. Very intense. Strong acting intentions and character. It's a story/theme that I think is worth exploring. I think it's pushing boundaries and will get a reaction. And I feel that there are really well-defined choreographic moments and a structure to the number. After working on something abstract, it's nice to return to clarity. I'll try to get footage, but it might be a bit tricky with this one. Hope to have video up...eventually.

Band of Gypsies 2-The Race

Here's the ROUGH edit of my number. What I was able to capture with just my dinky camera during tech and the one show. Hopefully I'll be able to fill in the holes and get better footage with actual videographer footage down the line, but I love the piece so much I didn't want to wait. So sharing the unpolished version with the world...

Band of Gypsies 2!

Well, it's time. Debuting a new piece tonight. This was a MAJOR challenge and pushed me as an artist in the best of ways. I've never choreographed a piece for dancers with a cast this size before (7!). I've never collaborated with a composer and worked with original music before. I've never had to deal with the logistics of scheduling and getting space for a dance of this size. And the counting and rhythms of this number...well, when I post it eventually you'll understand.

Thanks to Katrina Phillip for spearheading this showcase. Thanks to AJ Hughes, Adam Lendermon, Stanley Martin, Alfie Parker Jr., Zachary Denison, Jose Luaces, and Mark Donaldson for giving me their time, bodies, and sweat. Thanks to Kevin Boursiquot for allowing me to create with his intricate and evocative music. We've worked together, created something beautiful, and tonight we release it into the world. I'm so proud of the product and can't wait to share it!

Band of Gypsies 2

www.bandofgypsies.net

Manhattan Movement Arts Center

May 4

7:30

Band of Gypsies 2 class combo-Bei Mir Bist du Schon

As part of the fundraising drive to make the second BAND OF GYPSIES choreo-showcase happen, some of the presenting choreographers volunteered to teach a 'pay what you can' class. I saved the date, publicized the class, worked up a fantastic combo...and got screwed by auditions. It as one of those rare busy days where great calls happen in the morning and afternoon so the men and women trade off. Everyone was auditioning and no one came to play. But I shall persevere! I gave myself a warmup and then put myself on tape with a brand-spanking-new combo! And edited it. And put it online. And got some amazing response. People who asked if they could dance for me. People who reposted it to their facebook feeds. I released it into the world and it opened a few doors. So while the class was a 'teaching' fail, it was definitely a choreographic success!

Additionally, in looking back at it, I can see definite growth as both a performer and a choreographer. I am a stronger dancer that I was a year ago and I think a more interesting/refined choreographer. It's absolutely a process and I'm grateful for the journey and for the little milestones that show there is progress in the right direction! Enjoy the vid.

Picking up steam

So I haven't posted in a bit, and mainly that's a result of laziness on my part. But in the midst of that laziness is a professional whirlwind of opportunity and fun upcoming projects. It finally feels like I'm starting to hit my stride as a performer/choreographer and I'm loving how those two worlds intersect and feed off each other. A few developments...

I danced in the R.Evolucion Latina Choreographer's Festival. Performed in 5 numbers from some amazing up and coming choreographers and got to check out the layout and tech capacity of Manhattan Movement Arts Center. A good thing to because...

I've been accepted into two choreography showcases for May. I will be debuting new pieces for both the Band of Gypsies 2 showcase (where I've been paired with a composer to create an original number based on original music) and The Choreographer's Canvas. Yay for forced getting into the studio and rounding up dancers and making some fantastic art!

I was also asked to assist on Broadway Bares 21. Had some pre-pro meetings already and this year's show is going to be especially beautiful. I'm really looking forward to getting down and dirty on this project.

In a HUGE choreographic leap, I took the first steps in developing my own work. I had inspiration for a show strike me and after mulling it over for a bit, I submitted a proposal to the author of the work I want to base it on. My first time applying for rights. I truly believe in the concept (which is strikingly original) and if I can acquire the right to adapt it from a 'new media' source, it'd be absolutely amazing. Fingers crossed.

Finally, I've been offered the chance to direct/choreograph a summerstock show. No details on this until contracts are signed, but it's crazy exhilarating to be the head honcho on a project. Also terrifying. That show's all on me. But I think I'm taking the plunge. The project is super-cool and I can't wait to talk about it in the near future.

I just wanted to update this blog because it's been a while and there's a lot going on. Refining my class/warmup, acting in theater, shooting short films/webseries. A little editing. Hopefully more fun video to post in the near future. But mainly there's movement on the professional front and it's exciting to report. New art coming your way soon! Can't wait to get in the studio again...