Catalyst You

A few weeks ago, I wrote about how to put up your own work, inspired by my desire to direct again.  As soon as I found a play that moved me (and was right for the space), I submitted a play proposal resulting in wonderful news: I was granted free space to direct a play this Summer! Even better news-it's a NEW play co-written by my friends, which means an ever-evolving play that will be a complete labor of love. Stimulation like this can only have positive reverberations, the best of which is that I officially started writing my first play! 

Now that the formalities of 'how I got myself back on track' are over, I can get to the meat of why I'm writing this: my progress is made up of catalysts that came as a result of my desire to make things happen for myself because no one else was-regardless of my effort. A catalyst (stimulant, impulse, energy), incentivizes you to take bigger chances, leads you to meet the right people, gets the creative juices flowing, and grows the confidence necessary to succeed. 

YOU ARE YOUR OWN CATALYST; YOU HAVE TO BE. 

Some turn down projects because they feel they are too experienced; others unknowingly choose ventures that offer no career or connection advancement. Rejection and stagnation stifle creativity, motivation, and confidence. With so many variables, it can be difficult to stay busy, or worse: you(me) become reluctant to put your self and ideas out into the world. Subsequently, a state of temporary or long-term stasis follows, in which you hope, err, expect, try, wait, audition, go back, learn, grow, misstep, reconnect, meet, live, do. 

Regardless of your poison, the best catalyst to get out of the haze is YOU. You must create movement to expect/wait/hope for a reactionary response. You must do. 

• Open-Mic Nights/Salons and open performance forums
• Go back to school (higher learning or as an alum)
• Expand your training and knowledge; every new skill is a catalyst 
• Create: art, memories, music, stories, community, experiences, film, words, relationships, theater, moments
• Share ideas and created work with fellow peers & collaborators; you may share the same goals 
• Social Media: updates and buzz for your connections 

Think of your biggest fear and just throw catalysts around until you either no longer want it or are no longer afraid. 

No more fear.

An Artist's Mindful List

Preparation and tact make an unskilled or average artist seem better than they are-imagine what it can do for a gifted and trained artist! It's been a year since I've been on stage, and yes, I suffer from the same adrenaline-deficient worries: that I'll forget how to act, that my training will dissipate, and that I won't remember how to be a good collaborator. These inane apprehensions only matter when you stop practicing, and exercising your voice and body. Realistically, upon your return to a room of collaborators, your training will kick in, and everything else is just mindfulness and forethought. 

I've compiled two lists of tips on how to be a good collaborator and actor in productions, no matter their caliber. NEWSFLASH: These are also tips on how to be a good person to work with, regardless of your position; never underestimate how people would rather cast someone who is easy to work with instead of a talented Diva. 

An Artist's Mindful List 

• Always be prompt with all forms of communication to anyone involved-and read the emails. I know no one reads the emails, but come on.
• Greeting people daily is essential for morale and great for networking
• Learn names of as many people involved as you can
• Be courteous and aware of when work is being done and do not distract
• Respect the space and clean up after yourself
• BE. ON. TIME.

An Actor's Mindful List 

• This is obvious, but doesn't always happen: READ THE PLAY at least twice before the first rehearsal. Be as off-book as you can-your collaborators will thank you for it!
• Once in rehearsal
• Remember your lines and blocking
• Make your own choices-do not wait until rehearsal to choose them as you will waste time and it is not fair to the others in the room.  Even if it's not the "right" choice, it's something to work from
• Do NOT direct another actor-go through the director if you have any input
• Do not vary blocking or rehearsed action once in performance (serious judgement on this one)
• Treat the designers & crew as well as you treat the director. Remember they are the ones that make you look and sound good

Bottom line: Be KIND and thoughtful. Positivity goes a long way!

Maria in Twelfth Night-with Lulu Rossbacher

Let's Start at the Very Beginning: Playwrighting Basics

As someone who has never written a play, nor taken a class on it, writing my first play is rather daunting and unnerving. In talking to my peers, I've found that these two "shortcomings" are not as apocalyptic as I make them, and that as an actor, I have more knowledge about play structure and dialogue than I realize. In theater, you are constantly learning about the craft and all of the different aspects, often learning a side skill that pays the bills when projects fall through. Due to its collaborative nature, exposure to theater may inspire you to be as bold as other types of artists; in my case, my desire to pursue directing has now led to my attempt at playwrighting!

There are certain elements that can help bring the play to life, after which fixing the structure and flow of the play can take precedent. Organizing these thoughts and characters will then give the blueprint needed to begin creating a world in which you are God. Power unlike anything you have ever felt will accompany you on this journey; deciding fates and creating people can be quite a rush...

The following is a list I have compiled of preliminary elements to assist in the development of a new play:

1. Something needs to happen-an event, something someone does, or a discovery. 

2. Know the world you create-real or magical, we need to be clear of what this world is like. Consistency and specificity are key. 

3. Obstacles and conflicts-these help give your characters stakes, as well as give your play form and weight. 

4. Characters need to WANT-all characters must desire an outcome, and we need to care about each of them differently, depending on their point of view and their stakes. Think of the consequences if they don't get what they want, and you'll discover more stakes. 

5. Pressure of time-stakes are helped by pressure of an upcoming event or something at stake that will have consequences if not taken care of in a timely manner. 

6. Dialogue for character development and plot advancement-good dialogue usually moves the plot forward or reveals something about a character. Dialogue needs a reason to exist. 

7. Voices and moments-theater is about the people on stage going through an experience, and we need them to have individual voices and moments that clearly indicate who they are and what they want. 

8. Stage action-dialogue is a big part of playwrighting, but if you can make something happen, instead of having a character tell us about it, you will be ahead of the curve. Do no write something that can be shown. Actions that expose character traits or that require no dialogue can often be more powerful than the best monologue. 

There are many different ways to start writing a play, but I hope this one can help you. It has helped me get my play off the ground, and I cannot wait to share it with you all! 

The Play's the Thing

My Summer Theater projects fell through, which has given me the courage and tenacity to put on a play on my own...again! At first, this can seem like quite the challenge, and you would be right! I wish I could tell you that it is easy, but as someone who is attempting it for a third time (1-1...so far), it is still just as daunting. However, with the help of friends, some granted space, and a great play, I'm going to make it happen! Whether you're an actor who wants to showcase, or a playwright trying out a new play, or even a theater-lover who just wants to produce a show, it is possible if you take the right steps and prepare accordingly. 

As I've mentioned before, the first step is DESIRE. Producing a play without a theater company backing you can prove to be difficult, and the thing that will keep you going is your fervent passion for this production to succeed. The second step, even before choosing the play, is starting a search for a group of people that will be there to help you along the way, in various capacities.  If you've invested in your theater karma, there should be a handful of people that will work with you for free, or at least for a share of the profits. In this case, I would choose talent over convenience, and attempt to find the best person to fit the role (on stage or off) in an effort to have the best production possible with a minimal budget. I am an amazing Stage Manager, but I would have been lost without Lauren Erwin (the SM for my first show), and her capacity to keep it all organized while I was having my directorial debut. Her karma bar is full in my book!

Then, you choose a play-a crucial choice in the success of your production! The play will decide how much you have to spend on sets, costumes, lights, props, and space. It will also weigh on how the actors and crew will deal with any strains on the production; the better the play, the more patience they will have. The last element is to find a space; everything else will follow. Free is the key word in this scenario, as a free or granted space can give you the flexibility to spend all (if any) funds on the production! This is when going back to school, applying for space grants, or using connections comes into play. As a last resort, renting space is always an option, though not recommended for a self-funded production; those with outside capital can afford the choice. 

I completed Step One last week-now on to Step Two. Who wants to help me out this Summer? ;) 

Exposed brick is actually really IN.

Theater Side Jobs: House Management

Although I retired from Stage Managing, I'm happy to say that I will always consider House Managing an active skill! House Managers are removed enough from specific productions taking place, that there is rarely any drama or misunderstanding of what the job entails or how it is done. Usually paid and operated by the performance space, Front of House positions come with a regulated job description, as well as a quite steady paycheck (depending on the season.) More importantly, the constancy and necessity of House Management makes it a durable [side] profession, as well as bearing the simple pre-requisites of basic organizational and people skills. 

House Managing duties come in various titles: House Manager, Box Office, Usher, and generally always as Front of House. Coming across a dependable paycheck as an artist is sporadic, resulting in the common practice of possessing numerous skills backstage and in production. It is always better to know more about the business you are in. Even if House Management is not your cup of tea, I challenge you to learn (or enhance) a new position in your field! If you're a performer, chances are they need ushers...

And, as always, a handy list of what it takes to be Front of House staff:

• Organization and sale of Online and Box Office ticket sales
• Seating Chart and arrangements
• Coordination with the Stage Manager
• Audience customer service; Coat Check, Concessions, etc.
• Distribution of playbills and programs
• Audience control and flow
• Setting up house spaces and maintaining the house environment

LAST THING

Best entry-level position to get an introduction into House Management is ushering. My theater of choice to start: The Delacorte Theater for Shakespeare in the Park! Do it even if it's JUST for the celebrity sightings; say hi to Meryl for me!
http://www.publictheater.org/en/About/Employment/