29X/Y or How a Play GETS ME

Millenials have gone through more technological and psychological changes than any other generation-at least I believe so being a Y, and consider my own evolution a case study. On Thursday, I was inundated with these changes during a production of 29X/Y, written AND directed by Marcus Yi, currently playing at the Paradise Factory on East 4th St (near East Village theater row, as I call it). The play starts off normally enough: projection on the wall, empty blackbox, and actors on the stage. However, once the action initiates, you realize this is performance art; an arrangement of vignettes and scenes (29 to be exact) aimed to move/strike/change the hearts of generations X and Y.

Since commentary and rhetoric are my favorite parts of artistic expression, Marcus Yi accomplished the move/strike/change in my heart. When one of the first references is how "our childhood went away" once Harry Potter was over-you've got my attention. A smattering of talented, diverse, and collaborative cast of 11 actors helped Yi portray the angst, confusion, spirit, betrayal, disillusion, need, evolution, desire, squalor, comedy, and reality of the X/Y generations. An entire scene of just 3 repeated words, ("Like, whatever, OMG") effectively explores ignorance in X/Y Americans and the loss of self.

From innovative uses of voice-overs, to audience participation-tackling themes such as race, sexual orientation, and big business-29X/Y captures the feeling of being "stuck" that so poisons our generations. Squished between the status quo and innovation, the X/Yers have a difficult task: how to incentivize real change (gay marriage, student loans, corporations) with a comfortable, apathetic mass (Americans) who are so used to their ways? A beautifully sung Ukele song explores how can they possibly satiate their(your) hunger when, "after you get what you want, you don't want it anymore"?

"Imaginary education" degrees aplenty, with a surmounting student and credit debt, X/Yers feel at a loss, and react accordingly. Marcus Yi and the character-ridden cast reacted through 29X/Y by yelling truths, pointing out obvious problems, and sharing the sense of confusion that plagues our generations, and now because of the Internet, the World. With music, extreme stereotypes, Craigslist ads, soliloquies, award shows, dance, mathematical parallels, and riots, you'll leave the theater thinking, "Need. Change. Now. Now. CHANGE. NOW. STRIKE."

29X/Y
Paradise Factory
64 East 4th Street New York, NY 10003

2 Performances left:
Saturday May 31, 11:00 am

Sunday June 1, 1:30 pm

http://planetconnections.org/29xy/

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

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/

Stage Managing: What You’re Really Signing Up For

As a former (now happily retired) Stage Manager, I learned that doing this job is like a crash course in Theater-every aspect of a show goes through the Stage Manager. As an SM, you’ll either be charged with turning an idea into reality by setting it in motion, or take the blame for anything that goes wrong-the complete opposite sides of the theater spectrum.  It's not an easy or comfy job-I commend anyone who makes a life in the theater as a Stage Manager. Theater stories claim most people can't last over 10 years; I made it through 7.

A stage managing job is a good preamble to any other theater job, as well as a way to get into a theater company's radar or to connect with other artists.  WARNING: It is an utterly thankless job by most standards-with the nice consolation prize of making more money than the lead actors. I'm not writing this to discourage you (although if the following list scares you-RUN!), but rather to give you a real-life understanding of how much work it takes and just how much is under your domain. Nothing more important than this: if you are a good Stage Manager and it is your backup, be prepared to have your friends and colleagues see you as just that-no matter how good you are at acting, writing, dancing, directing, etc. Harsh realities become too frequent as a Stage Manager...so building a skin for that helps, too. 

The following list are some of the specific duties that you may encounter as a Stage Manager.  Master hat-wearer of the Theater, SM's are managers, producers, directors, babysitters, doctors, technicians, and most of all: problem solvers. 

• Scheduling rehearsals while working with talent and designer schedules
• All communication between Director and production
• Keeping time during rehearsal and making time for required breaks
• Organization and preservation of ALL documents related to the show
• Keeping the script up-to-date and distribution of all changes
• All communication between talent and production
• Writing down ALL of the blocking and stage directions
• Set-up and strike every day of rehearsal and show
• Working with Equity and Producers to accommodate talent
• Calling/Running the show from a booth or backstage

If you are capable of all of these things, please do the theater a favor-put on a headset and go stage manage a show! There are never enough quality Stage Managers, and as an actor, I always appreciate my SM's until they can't take it anymore!  Being on the other side has taught me how it feels, and I try my best to make my crew know they are appreciated and acknowledged. The crew is essential to the running of a show and the MORALE-something overlooked by most when asking why a show isn't working.

Despite my break-up with the headset, I thoroughly enjoyed my time as a Stage Manager. There's nothing quite like that power of knowing everything and being the go-to person with all of the solutions.  Stage Managing just wasn't my passion-but I hope it can be yours! 

Spring '07: Maurya Scanlon, Elise Toscano and I on our first NYU tech as crew members for
Angels in America: Millenium Approaches at the
Stella Adler Studio of Acting.