Feeding Your Artist Soul

The Book of Mormon on Broadway won Best Musical in 2011, and it is STILL the hottest ticket in town-highest bidder at $477. On Sunday, through the good will of a friend, I got to see the show for free and it exceeded (and absolutely demolished) my expectations!  It was as though this show had been a big, juicy steak that I awarded myself at the end of Lent. It had been so long since I had been to a show of that caliber, always having excuses as to why I cannot afford it, or not finding the time. I was overwhelmed by the unconditional commitment from every person onstage, as well as behind the scenes-from the witty, topical book and lyrics, to the spectacular stage management that only a former SM would recognize. While Elder Price was expertly singing "I Believe," I promised to have a healthy diet of at least one piece of theater every month to ensure that I keep my perspective on what high standards and talent are, as well as to remind me to allow myself to dream big.  As big as Broadway.

There's a certain guilt artists sometimes feel when they go for long periods of time without seeing or being a part of their respective art form. I've felt it ever since I developed a theater conscience in college, and we all talk about it when we meet up-"I've been such a bad actor, I haven't seen a play in months!" "I can't even call myself a writer anymore-I haven't written a word in a year." "I'm pretty sure I've forgotten how to act." All of these self-imposed pressures and statements are detrimental (NOT the same as instrumental, TY Justin Bieber) to your soul's growth as an artist! In a city like New York, where a Broadway ticket averages $130, it's not always easy to feed your soul with great art and music. Alternatively, in a city like New York, there are so many low-cost/free options: go see your friends in a show, find a new or small theater company, community theater, open-mic nights, museum exhibits, public performance art, the MTA performers, local school shows, and even just walking through the subway tunnels-it's all art and culture! Nonetheless, just because the standard of what you are watching or doing is not the highest level, it does NOT mean you are being a bad or uninformed artist. Doing nothing makes you that, and if you're reading this column, you're ahead of the game!

Audition Technique-a required class I took at NYU to prepare me for the "real world"-taught me how to audition professionally, create a resume, and handle myself well in front of Casting Directors. However, one of the most influential take-aways was when our teacher told us to "do something for your actor every day. No matter how big or small-one thing a day will keep your soul fed." There is no parameter for what is "good" soul food: checking the playbill.com home page daily, auditioning, seeing any kind of show, reading a play, singing a song, going to a museum, practicing your instrument (even if it's your body and voice!), working out, theoretical conversations, dancing, buying a book, and even just watching a film. The "what" is not important; as long as you are mindful of how it can better your craft, and expand your knowledge and understanding of the world, you are doing something for your artist soul EVERY DAY.

The BEST website for Broadway discounts and policies:

http://www.broadwayforbrokepeople.com

"Suggested Donation" Museums
The signs are small, but you do NOT have to pay the exorbitant amount expected to be paid by TOURISTS; I'm so excited to share this list with you! Don't be embarrassed about donating even just $1-you shouldn't have to pay more than you can for something that is technically free to the public.

• American Museum of Natural History
• The Cloisters
• The Metropolitan Museum of Art
• New York City Fire Museum
• MoMA PS1 
• Museum of the City of New York
• Queens Museum of Art
• Staten Island Museum

FREE FRIDAYS!

• The Hall of Science, Free Fridays 2pm-5pm
• MoMA, Free Fridays 4pm-8pm
• The Museum of Moving Image, Free Fridays 4pm-8pm
• Rubin Museum of Art, Free Fridays 6pm-10pm

The Audition Muscle

Auditioning is one of the most difficult parts of being an artist, whether you're an Actor, Musician, Dancer, or Performance Artist. Not only because of the pressure and cattle-like quality, but because it is not always easy to get them! Auditions are comprised of many variables; even if you do not book the specific job, getting on a theater company or casting director's radar is a huge plus! Since the business is mostly about connecting, it is essential that you go to every single one and exercise your Audition Muscle. 

Practicing is something artists are accustomed to-just like you rehearse for a show, you should rehearse your monologues and sides before an audition. This professionalism will support your resumé, as well as stand out in their minds in case you audition for them again. However, practicing is a supplement to your Audition Muscle-the actual muscle is the practice of auditioning. You will learn something from every audition you go to (no matter how great or horrifying), and each one will increase your skill and knowledge of what it takes to get the role! The more you audition, the better you will be at it, and the more people you will meet. Auditions are never a waste of time-it all depends on your perspective and foresight. Remember, only you are your worst enemy when it comes to pressure.

One of my acting glass-shattering moments was when Ron Burrus, my Adler Technique teacher, taught us the subtle difference between a good and bad audition. "Where are my keys?" he said, in a believable voice, but quite unremarkably and looking straight ahead. Then, "Where are my keys?" he asked, while searching his pockets and acting agitated. A simple lesson, but once it hits you-the difference is inner LIFE. You will usually not know who the character is, or where they come from; in an audition you can make up your own story about who they are! Choose actions and choices that stimulate you, and your character will come to life. More likely than not, if are a character, those on the other side of the table will try to direct you into their version of the story. If you succeed, you book it! And if you keep booking, your Audition Muscle can become as big as one of Hugh Jackman's biceps. 

Some websites to find Auditions:

www.playbill.com

www.backstage.com

www.actorsaccess.com
http://columbiacasting.com

Facebook and Twitter Theater Company Group Pages

And yes, even www.craigslist.com Be WARY. Look in Gigs.

A handy Audition update website:
www.auditionupdate.com

Ron Burrus and my NYU first year Drama group in Adler Technique

Facing Your Theater Fears

Last night I had an informal reading for a play I am in the process of directing.  I asked a few of my friends, colleagues, former teachers and directors, and even my boyfriend to be a part of the private reading. It was the most supportive room I've been in since NYU and it was a beautiful reprieve from the dose that real life is. After a fair reading of the play, it became clear to me that everyone felt what I most feared and already knew: the play isn't ready for performance. This led to a conversation on how it can be better and why I was attracted to it...which then led to a conversation about my own personal connection with the play, which THEN led to all of them suggesting I write my own story and turn it into a play. Eep! 

I must confess that I am absolutely terrified of writing a brand new play. I never took a playwrighting class and I've never written dialogue! This fear, however, also becomes defiance. Defiance against myself and what I think my limits are. How can you know until you try? I pose this question to all of you: how can you know if you can act, direct, dance, paint, produce, mime, write, play, or sing if you do not try? I realized last night that theater is exciting to me for many reasons, the greatest being this: the more I delve into the theater world, the more scared I am and the more gratifying the end result turns out to be. I was apprehensive about having the reading because I felt the play was not ready. Facing this fear led to an enlightening conversation about the play, which then transformed into an endless (and happily unexpected) outpouring of support and encouragement to try playwrighting because of my personal, engaging story and ability. Having other people believe in me-before I can even start to believe in myself-definitely catapulted my confidence into a stratosphere it hasn't seen since college. So, I'm going to write a play. 

I use my experience as a case study in what can happen when you jump and GO GET IT. I let fear run my life for 3 years after getting my BFA (or Biffa, as I lovingly call it), and I've never been so miserable. I am finally getting up (after falling...HARD) and facing my fears, fears I didn't even know I had, and am now reaping the glorious benefits. Fear of the unknown, of failing, of falling, of exposing yourself, of limits, of comparison, of being wrong, of succeeding, of even trying. All valid, none real. Knowing is truly better than not, especially for over-analytical theater majors (we know who we are) and our sanity. You fall, but boy, do you get up a more rounded, experienced, and motivated individual. So, jump! We'll be here to catch you and then we can all share stories of failures and triumphs. After all, what is a good, lived life but a series of ups and downs?