More people are afraid of the dark than Virginia Woolf—even with the ghost of Elizabeth Taylor slurring through the dialogue. You may think I’m pondering this horrendously early, October sundown we’re experiencing here in the Northern Hemisphere. I’m not. Still, ‘tis the season when film crews start earlier than Meatpacking revelers leave the clubs; productions need to get in a full day of exteriors before the light starts to change, early evening. My neighborhood has been taken over this week by the Ed Burns directed PUBLIC MORALS, a made for television movie set in 1967. It’s been fun drifting down Greenwich Ave and West 4th, weaving in and out of period Pontiacs and atmospheric extras dressed in vintage garb. Ed Burns plays a role as well, alongside Michael Rapaport, whom I’ve stood in for on films like HITCH. Stellar peformances in movies like Spike Lee’s ZEBRAHEAD have secured Rapaport’s place in the indie, modified low budget Hall of Fame.

It’s also haunted house season. And a good old fashioned October scare is more theatrical than half of the offerings at TKTS. You know how partial I am to interactive theatre. Last year, I blogged about my experience at Blackout NYC, the superbly well done solo walk-through where you often feel like you’re the girl running back up the stairs in take-your-pick of B horror films. Blackout is known for its psychologically driven scenarios: sensory deprivation and sensory overload, claustrophobic environments, nightmare-inspired locales. And, obviously, the use of darkness. Should you be in NYC this Halloween season (or in LA) and are brave enough, I highly recommend you try to complete the course. Oh, that’s right, one in three patrons use the “safe word” and don’t make it all the way through. And if you leave early, you’re not allowed back! Not for the faint of heart, individuals must sign a liability waiver before entering. Still intrigued? Get more information here (and WATCH the videos to make sure you’re up for the challenge):

http://www.theblackoutexperience.com/home

Pal and B’Way HEDWIG producer, John Retsios—still in Greece though I’ve been back for weeks, lucky duck—recently posted about Athens’ DIALOGUE IN THE DARK.

It’s not unlike Berlin’s NOCTI VAGUS, the pitch black restaurant where visually-impaired staff members lead you safely to your table. Not only is the food award-winning, but the experience is one of a kind. You can also choose to visit during special events like crime theater, theatrical readings, and music concerts. Their motto is “Not seeing means to see different.” Check it out here:

http://noctivagus.com/english/index.php

I suppose any discussion about darkness and theatre would not be complete without mention of INTO THE WOODS, the cinematic potential catastrophe we’re all anticipating, dreading or at the very least, intensely curious about. Yes, I just ended a sentence with a preposition. But for those purists, you can catch the original Broadway cast reunion (somehow) hosted by Mo Rocca. I don’t get it, either. He will be interviewing Sondheim and James Lapine in what can only promise to be an intriguing, if not slightly spastic, post-show discussion. If you find yourself on the west coast near Segerstrom Center for the Arts, adjacent to the Tony winning South Coast Repertory, in November, get your tickets yesterday. The low $59 price left many WOODS fans without a seat; a second night has thankfully been added. ITW is my favorite musical, FYI; the idea of fairytales gone wrong is a bit of darkness we can all relate to. Yes, another preposition. And for a writer, that’s dark…