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Epilogue to The Doing Drugs And Dying In Space Ritual

ddadis skull

It’s been a few days after the last show, and I’m nursing the remnants of the sort of cold you get when you work very hard for six months, you finish your work, your body says “I guess I can take a break now,” and your immune system chills out long enough to get a nice little cold. It is a victorious cold, and I wouldn’t be celebrating this righteous cold right now right now without the hard work of the fifty-plus people who helped get The Doing Drugs And Dying In Space Ritual on its feet and rockin’.

Big thanks to Platinum and everyone working at Iridium Clothing Company. The space was so perfect for the show and they were always extremely accommodating to our requests and needs. Plus their store is really cool. You should go there and buy some clothes. If you’re cool, you’ll like it. Check it out:

Thanks also to our sponsors who provided donations for the raffle and the booze provided. Having outsider support really legitimizes a show and turns a weird little show into a REAL weird little show. Thanks to Saint Lucia’s Smoke Shop, Half Acre, Koval Distillery, Intelligencia Coffee, and Brooklyn Boulders.

Thanks to those who donated to us during our fundraising campaign. Couldn’t have done it without your kind contributions, so big thanks to Nicholas Zebrowski, Nikki DelZenero, Logan Breitbart, Olivia Lilley, Michael Reedy, John Enright, Martin Seay, and Wade Herter.

Thanks to Andrew Lehmkuhl who designed and set up the lights for a space. Huge thanks to the dude for working on a tiny budget in an unconventional theater space, and working on the fly, with minimal time, working to the actors’ and directors’ needs. We teched 12 shows in something like 10 or 11 hours and had a near flawless run-through, which was incredible.

Speaking of flawless tech, thanks to Erin Morill who ran an unconventional light board  (read: three extension cables with on/off switches) while working sound cues off a laptop at the same time, and still ran a perfect tech and four perfect shows. She was an ace problem solver and a powerful presence, which is an important feature for a good stage manager. The show wouldn’t have happened without her, she deserves enormous thanks.

Thanks to all the directors who put together pieces for The Ritual. The amount of work they put into their pieces showed, and I was honored to have all involved. Thank you Vivian Ellis, Maggie Vaughn, Jennifer Hogan, Logan Breitbart, Hannah Sawicki, Sarah Patin, Frances Colleen, Cheryl Nowlin, and JD Caudill.

Thanks to the massive cast for these combined shows. It was awesome (in the old testament sense) to work with so many talented actors. It means a lot that they’d take the time to get the parts down to make this one weekend really stellar. Thank you Bill Chill, Ben Ross, Arielle Von Hippel, Nelia Miller, Steven Garcia, Ryan Wright, Roy Rainey, Marisa Coccaro, Kristen Mann, Nate Earnest, Jordy Williams, Dan Mozurkewich, Nicolas Hassebrock, Grace Palmer, Alejandro They, Shawn Morgernlander, Ross Childs, Vincent Greco, Marshall D. Kious, Roberto Caez, Alex Barnett, David Weiner, Liz Conway, Michael O’Neill, Ally Subak, Maximillian Correa, Mel Forrest, Logan Breitbart, Melinda Reyes, Kelsey Shipley, and Mario Aivazian.

Thanks also to the voice over actors in Babylon Working: Erin Morill, Blair Britt, Andrew Coulford, Ben Kaye, Nathaniel Shane, Jacob Eugene Horn, Danielle Spence,  and Jason Amplo.

Thanks to the writers who donated their short plays to The Ritual. You can’t make a good show without a good script, so it was a dream to have so many pieces that took the subject matter, elevated it, and expanded it from their unique perspectives. Thank you Spenser Davis, Logan Dean, Josh Graber, Joe Goudreault, Kramer St John, John J Enright, Wyn Evans, Andrew Bentley, Francesca Pazniokas, Dan Desalva, Martin Seay, and Kathleen Rooney.

Thanks to Sarah Lo for choreographing “Distress,” and Marshall Smith (DJ FARSIGHT) for creating the underlying track from SCRATCH.

Major thanks to Janice Lim who built the set piece for “Babylon Working.” did you see that thing? It was insane! Thank you, Janice.

Thanks to all those who contributed posters. The visuals provided a wonderful context for the world each show existed in – I love them, and I love looking at them. Thanks to Meggie K, Jack Angelo, Vivian Ellis, Ryan Holton Reynolds, Mikaila Von Merre, Dominic Roselli, Patrick Joseph Rork, Jewells K Santos, Jake Pollock, and Chris Hutson.

Thanks to my mother, Barbara Reedy for going her out of her way to photograph the ruins of the D’Dyas Home Compound – it was a real thrill to get that email with those pictures. Thanks to Tom and the rest of the former acolytes for sharing wit home their stories of the D’Dyas Space Cult. Thanks to High Speaker Kramer St John for the instructions as to the structure of the ritual. I’m sorry I couldn’t make all requests transpire for this ritual – I guarantee they’ll make it in next time.

Thanks to Matthew Gregory Hollis for shooting Friday night and turning around pictures the next day. That was a huge help and it’s great to to have the show so beautifully documented.

Thanks to Alex Girsh for shooting the show on video Saturday. To get this thing fully recorded was so, so important, and it was great to have someone I knew I could trust to nail it sitting up front. I’m very excited put up the footage just as soon as we have it edited.

Thanks to production assistants Shelby Galney and Danielle Spence for taking on the odds n sods, doing the minutia that needed to get done to have a whole, good and complete piece. I’m sure sometimes the work at times felt small, but it was always a colossal help.

Thanks to Mike Davis who contributed the music that played during the preshow and intermission. It was great to have a bonafide synth nerd working out a ripping track to play under the histories of D’Dyas. It set the appropriate tone. You should all give it another listen. Here’s the track:

Thanks to Ian Benedetti for providing two of the songs used during Solar Sonata. I really love the guitar work for “Dying In Space.” And the piece wouldn’t have been as funny without “Ray No. 1.” Both tracks are included below:

Thanks to Olivia Lilley, who would give her two cents whenever I needed it. Her experience was truly valuable stuff, and we’re all looking forward to having her back in the city very soon.

Thanks to our company costume/makeup designer Mikaila for helping and always being on hand for costumes and make up. She was the one who provided me with some very essential costume pieces and was always quick to respond to all of my questions and concerns. I’m always thankful to have her good brain attached to the company. Here’s to the killer costume pieces we’ll put together for the coming season!

Finally, thanks to my co-producer and co-artistic director Maggie Vaughn. She could  see everything I wasn’t anticipating, was quick to respond when I needed help, and generally made the show a more complete organized affair. The show wouldn’t have happened without her help, plain and simple. Thank you, thank you, thank you.

From Maggie: “Thanks to Gannon because he really cared about the artistic quality of this piece and organized a kickass set/surely did not sleep a lot in order to see the whole thing through. HES A GOOD NUT.”

That’s it! Show’s over! We’ll see you for the season announcement party, date to be announced SOON!


(Credits roll. Fade to black.)

(Post credits: Fade in on Gannon blowing nose, closing laptop.)

GANNON: Great, that’s done forever-

(SAMULE L JACKSON enters frame)

GANNON: What- wha- what?????

SAMUEL L JACKSON: Oh, it’s not over yet. Oh no. It’s only just begun.

(Blackout. Text comes into frame:



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