Thespian alum Archives - Dramatics Magazine Online

From Thespy Stage to Working Artists

Jose Triana — Thu, 01 Feb 2024 13:32:02 +0000

Becoming a Thespian can be a rewarding and enjoyable experience. Not only can you find community amongst fellow students, but often it kicks off a long-term artistic journey. While every student’s experience will be different, there are always Thespian alum to look to for guidance and inspiration.

Muhammad Khaerisman and Tyren Duncan are two such Thespians.

Members of Troupe 7961, their Thespian journey earned them Thespy accolades, long-lasting memories at the International Thespian Festival, college educations from University of Houston and Texas A&M University-Corpus Christi respectively, and a career as working artists, where they still attend Texas Thespians – now as teaching artists.

As Kendra Willeby, their former teacher and troupe director, explains, their journey represents that “pie in the sky dream outcome” of becoming a Thespian.

Today, they run Faces Network, an artistic collective and platform for artists, with performance arts pieces hosted in Atlanta and a new film, Prodigal, premiering in 2024. EdTA caught up with them to learn more about their Thespian experience and how these lessons have helped shape their careers.

The Early Days as a High School Thespian

For Khaerisman, who like many children, aspired to be an astronaut, the path to theatre unexpectedly started with early wins. “In the summer of 11th grade, Ms. Willeby signed me up for college auditions, and out of something like 74 schools, 72 called me back,” he says. “It blew my mind. I don’t know if it’s my upbringing or because I wasn’t exposed to anyone in this space, but it didn’t occur to me that I could pursue acting as a life course.”

For Duncan, football was the main priority, playing from elementary all the way until his junior year of high school. However, his passion for football declined, and the need for a new creative outlet led back to theatre. In his freshman year of high school, he had performed in South Pacific, had a “good time,” and figured it would be a great place to return to. But his second run in theatre didn’t start as expected.

“Oh God, [the audition] was a school bus breakdown on the side of road: flames, smoke, everything,” he said. “When you’re in high school, you feel like that’s it. You feel like ‘Ah, if I didn’t do this one thing then I’m completely done in life, and I’ll never amount to anything, I’ll be a failure.’ While the audition wasn’t ideal, he still got his opportunity to return to theatre. “Ms. Willeby took a shot on me and saw potential in my ability… I thought it was really great that someone saw a lot in me.”

Finding Theatre on a Larger Scale

Growing as a Thespian often means challenging yourself and expanding your skills. One of the easiest ways to start is by attending state festivals. “I decided to go to Texas Thespians [state festival] because I really wanted to be better. A better artist; a better actor for people around me and for myself,” Duncan says. “I remember a moment specifically where we made it to the hotel, and I was with my friends, and looking out the window of the hotel. It was just so beautiful, seeing Dallas and all the lights at night, and I was like, “Wow bro, theatre took me here, and I wonder where else it could take me.”

Ultimately, it took Duncan and Khaerisman to the largest stage of all, the International Thespian Festival (ITF), where they would make lasting memories and learn some tough lessons too. Khaerisman says those annual trips to ITF are filled with memories of adventuring with friends, random jam sessions with troupes from around the country, and a chance to connect deeply with the craft.

“One of the featured artists was the composer of Big Fish. I’d never been exposed to this musical before, and he sang a song called ‘Fight the Dragons.’ It was just him on the piano – a very simple performance – but I remember crying and [feeling] so much relief and catharsis,” he says. “If this medium of art could give me that, as a human being, as a student, as a person, I really wanted to commit to be able to provide that for other people.”

Competition 101

Of course, for many Thespians, ITF isn’t just about bonding with fellow theatre students – it’s a stage for competition and an opportunity to see talent from around the county – and our reactions to that dynamic can often be varied.

For some, it’s a comforting experience. “It’s reassuring that you’re not the only person that’s really good at what you do,” says Duncan. However, that experience also opens doubts that require intentionality and mindset shifts. “There’s a lot of kids who are also very talented. And, of course, that impostor syndrome sets in because you’re like, ‘Oh, maybe I’m not good enough,’” he says. “I just had to check myself and realize it’s not about that; it’s about being a part of a larger community and knowing that these people are bringing their best, I’m bringing my best, and we should all want to make each other better.”

For others, like Khaerisman, ITF is the ultimate proving ground on the largest stage possible. Coming from a competitive background, his mindset was laser-focused, seeing fellow Thespians as an obstacle to overcome. However, after an early exit from competition, it proved to be a learning experience too.

“I remember my first time going to [ITF] I was like, ‘We got main stage. We did it all: we got the right writing, we rehearsed it, my partner’s gas, I’m gas, everything’s going to be incredible.’ There was no thought in my mind that there was a possibility we wouldn’t even break out of the room [advance to main stage],” Khaerisman says. “Being taken out of the competition early on just freed my time to do workshops, watch shows, and experience [ITF] without having to be in that challenger mindset.”

Opportunities to be surrounded by thousands of theatre fans and practitioners are few and far between, which is why one of the things Duncan and Khaerisman agree on is that the biggest reward of attending ITF is finding community. Whether that means stepping out of your comfort zone to experience new practices in a workshop, chatting with Thespians from other states, or simply enjoying a show, there’s more to ITF than competition.

Finding Community Post-Grad

Part of the challenge for Thespians continuing their journey after graduation is finding opportunities. For starters, community is often a byproduct of being in high school. Having graduated from college at the height of the pandemic, where interaction was at an all-time low, figuring out new ways to meet artists was an experience both men had to navigate.

According to Duncan, one of the places to start is with social media. “I love acting, but I also love underground hip-hop, house music, people who create fine art as far as sculptures, paintings, and things like that,” he says. “I always go on Instagram and figure out, ‘OK, what gallery is showing XYZ, how can I pull up to show support and actually get to know these artists?’”

This intentionality has helped them land opportunities like costume designing for smaller theatrical companies and expanding their network of agency contacts, making life as working artists a real possibility.

The other challenge post-graduation is understanding who you are as an artist. “For me it was unlearning that my identity – who Muhammad is and what Muhammad be doin’ – are two separate things,” Khaerisman says. “I thought my community of artists was going to be just actors, because I’m an actor and those are the people who would understand my journey. But it’s the complete opposite. Don’t just seek out actors or theatre practitioners. Go to an open mic, go to a stand-up comedy night, go to a movement workshop. Be in community with creators, cause anybody doing [art] at a DIY independent level… there’s going to be alignment.”

“Making It” as a Working Artist

Today, they’re both working artists and have founded a business to continue their passion in the arts. And while their journey is unique to them, there are some nuggets of advice they offer Thespians looking to pursue a similar journey.

“Everybody’s path is different. I might be wearing something that may not fit for somebody else, but I can assure you, the more you actually listen to your voice as an actor and as a person, the better off you’ll be,” says Duncan. “That’s the biggest advice I can give to any young artists out there. Don’t let them change you, let the world be your mirror.”

“It’s kind of silly, but all of us jumped into art because there was something we felt emotionally passionate about. But if you’re going down a path where you’re trying to build a life as an artist – a career and something that sustains you – approach it logically,” says Khaerisman. “Figure out the tools, skills, and knowledge you already have. Then create that plan for yourself. It’s only impossible if you don’t write it down.”

Stay connected with Muhammad and Tyren on Instagram @_xxfacesxx_ or their YouTube Channel.

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Dramaturgy 101: Creating an Actor Packet

Dylan Malloy — Thu, 16 Nov 2023 14:18:25 +0000

This fall, I learned about dramaturgy for the first time by serving as a dramaturg for my college theatre department’s production of Lost Girl, written and directed by Professor Kimberly Belflower. Dramaturgs perform the research and story analysis that make a play come alive for the actors and creative team. They’re also often responsible for creating the “actor packet,” a short research document with information relevant to the play.

4 Tips for Creating a Great Actor Packet

The actors use this packet to gain more context about the themes present within the script, essentially helping build the story from the inside out! While there’s plenty to learn, here are four of my biggest lessons creating my very first actor packet.

1: Read the play.

First, sit down with the play and read it thoroughly. It helps to make note of what you notice while reading. Do certain character dynamics stand out? What themes seem particularly clear? Does the ending make sense, or is it more ambiguous? Is the style realistic or not?

Once you finish reading the play, ask yourself one key question: What information do actors need to know to tell this story well?

The answer to this question can come in the form of themes, historical context, storytelling devices, information about the play’s genre – the options are endless. You’ll research many different things while working on your actor packet, but answering this question for yourself narrows your focus.

2: Research the context.

Next, begin your research into the play’s context, as this often determines so much about the story from the start. Context is the particular lens through which the author, director, and/or creative team approach the material, informing how characters relate to each other and how they interact with the setting.

For example, Cabaret is a story about a passionate love affair between a British nightclub singer and an American author. However, its context is that it’s set in Berlin on the eve of the holocaust, and this affects how the actors might portray the story. Knowing details about the world the story is set in helps you understand what different characters value.

Even if the play takes place in the present, do some broad Google searches into a play’s historical setting and geographical location. What was happening in the world at the time when the play takes place? Where is the play located in the world, and how has that location been impacted by global issues?

Make a bullet-point list of the most relevant facts that actors should know. The list doesn’t have to include everything – just enough information to provide some background. At the end of the actor packet, include some links that actors can reference if they would like more information.

Think of it like drawing: by providing historical context in the actor packet, you’re outlining the sketch. Next, you’ll focus on the smaller details of the story and add some color.

3: Explore themes and genres.

In every play, the playwright wants to communicate a message about the world. They do so by exploring conflict between characters and the world around them. You can help the actors understand the themes of the story by pointing to works with similar themes. Everything you include in the actor packet helps the actors to ground themselves within the story.

For example, if the play you’re working on is a romance that ends tragically, you can provide a list of other romances that end tragically. Actors can read or watch these stories to understand the nuances of the emotions they will portray onstage. When actors understand a play’s genre, they can also work to understand what makes this particular play different from stories of the same genre. Different themes and approaches set stories apart.

While creating the actor packet for Theater Emory’s production of Lost Girl, the dramaturgy team included information about different genres: fantasy and coming-of-age. Lost Girl is inspired by the story of Peter Pan and follows Wendy Darling after she returns home from Neverland and tries to start her life again. We wanted to have a section of the actor packet that talked about tropes commonly found in both genres so they could understand how the play works with and subverts those tropes.

4: Study the characters.

Once you’ve provided research about the context, themes, and genre of the play, shift your attention to the characters. Every character pursues different goals and experiences conflict along the way, and actors seek to find out why they act the way they do. You can help them in this process by sharing research related to psychology and behavior.

For example, if a character is grieving a loss, including a scientific article about grief makes it easier for an actor to understand the character’s emotions. While working on the production of Lost Girl, which focuses on Wendy’s heartbreak after losing Peter Pan, the dramaturgy team provided research about mental health in the actor packet to contextualize why Wendy struggles to move on.

However, always be careful that the sources you include are accurate, professional, and trustworthy. If you have any questions about whether you should include a source, be sure to ask your theatre teacher. It’s best not to try to explain the characters, but to share interesting pieces of research that empower actors to draw their own conclusions.

Once you compile all your research, you’ll have a completed actor packet ready to distribute! Your research and attention to detail will help the cast and creative team see the story in a kaleidoscope of different ways.

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A Meteoric Rise in the World of Lighting Design

Patty Craft — Fri, 03 Nov 2023 12:58:50 +0000

Jack Cannon is the principal designer at the company he founded, Cann Light. Jack is just 20 years old and the youngest graduate of the California Institute of the Arts, which means if you’re a high school or early college reader, Cannon was recently right where you are.

So how has he built a career in the world of lighting design and what advice does he have for students looking to do the same? Read on as Jack shares his story and actionable tips to chart your path beyond the school stage.

Focus Delivers Results

Jack Cannon Headshot – Photo By Meredith Adelaide

At age 14 Cannon got involved in theatre and quickly “fell in love,” and realized he strongly disliked having to turn down theatre work gigs because he had to finish high school first. So Cannon graduated early in 2020 as a 17-year-old junior.

Even before he’d graduated from high school, Cannon was focused on his dream. “I taught theatrical design for the first time when I was 15, at the Illinois Community Theatre Festival,” he said. “At age 16, in January 2020, I taught at the Illinois High School Theatre Festival and the Indiana State Thespians Conference where I also adjudicated the [state] Thespian Excellence Awards.”

During the pandemic, Cannon completed his CalArts degree plus an associate’s in Business Management and Administration.

Seeing is Believing

Students experimenting with lighting design at the California State Thespian Festival Workshops – Photo by Cann Light

While not everyone knows so early in life what they’re passionate about, Cannon knew what he enjoyed and saw opportunities that became stepping stones to his current career. If you know it’s theatre you love but you’re still not sure what you want to do, check out this post.

At the end of the 2020 Illinois High School Theatre Festival where Cannon taught six workshops, a participating teacher told Cannon, “It’s one thing when an older professional comes in to teach. Students see what they can become in 30 years. It’s a whole other thing when a student sees someone who is literally their age; a working professional and teaching.”

That experience has led to much of his success in lighting design and has also led to countless other opportunities.

Jack Cannon’s Tips for Theatre-Industry Success

1: You Be You.

“The best advice I can give to students is to never let anyone put you in a box or try to keep you in a box. You have to force yourself to push boundaries,” says Cannon. “It’s the only way you can explore your art and the art form that you enjoy most.” So be brave enough to figure out who you are and courageous enough to bring a unique set of skills to the table.

2: Think Like a Business Owner.

“Another piece of advice is that you must learn the business side of entertainment. Art programs struggle to effectively teach the business of being an artist,” he said. “It’s important that you take the time early in your career to understand business management, client development, accounting, and contracts.”

3: You Must Network. Period.

NBC Universal Virtual Production – Photo by Cann Light

Cannon admits, “All of my work can be traced back to asking and having coffee with an industry professional.” Who you know, who knows you, and who knows what you can do, makes the difference in getting gigs. In a world full of so many choices, it’s human nature to choose someone you know – or at least think we think we know. Introduce yourself and talk to people at every gig you do.

Choose the social media platforms where your decision-makers are hanging out; you don’t have to have a profile on them all. Then present a polished, on-brand profile with clear and easy ways to communicate with you. Interact in a general way on social. That is, don’t leave your profile to gather dust from inactivity.

Go to trade shows and meet people; leave a positive impression on them along with a way for them to remember you and contact you. And believe it or not, email is still one of the most effective ways to connect with people. Grow your email list and use it wisely. Reach out via email with a clear reason for someone to respond and have a conversation with you.

Jack Cannon teaching lighting design at California State Thespian Festival Workshops – Photo by Cann Light

4: A Picture is Worth a Thousand Words.

“Photography of your work is key. Start building a portfolio as soon as you have work to showcase,” Cannon says. Become friends with photographers that you meet, because it takes a special skill to capture the right image in a theatrical environment. Make genuine connections so photographers can also get to know you and what you’re trying to convey through your photography.

You can contact Cannon who said, “I’m open to everything and can be reached for engagements via email at education@cann-light.com.” Find him on Instagram and LinkedIn, too.

Patty Craft is a regular contributor to the Educational Theatre Association.

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From Dreams to Stage

Dylan Malloy — Wed, 18 Oct 2023 18:41:21 +0000

As a double major in playwriting and business at Emory University, seeing my work onstage is always a dream come true. This summer, my full-length play The Groundwater won the Blank Theatre’s 31st Annual Young Playwrights Festival, producing the play in Hollywood in July 2023. The play is the final installment of a five-play series about human connection and the climate crisis.

This was my second production with the Young Playwrights Festival, and it was also the company’s first in-person festival since 2019 (due to the pandemic). Any playwright between the ages of 9 and 19 can submit work to the festival, and 12 winners are chosen from the nationwide submissions every year. I can’t recommend the program highly enough!

Bringing The Groundwater to the West Coast was an exciting challenge, and while the play was first performed as a staged reading by Emory’s Oxford College theatre department in September 2022, the Blank Theatre produced the first fully staged production.

Here’s a peek into the festival experience and the playwriting lessons I learned along the way.

Mentorship and Edits

The Blank Theatre assigns every playwright a mentor as they edit their script. I worked with Aliza Goldstein, a playwright who is also an alumnus of the Young Playwrights Festival. She and I met over Zoom multiple times to reread the play and discuss how to make it stronger.

Because I tend to overwrite, this meant cutting down the script and removing unnecessary lines of dialogue. The mentorship process also gave me the opportunity to explore different facets of the characters and include an entirely new scene.

Lesson: Keep it short

From these meetings, I learned that brevity makes a script stronger and dense paragraphs of dialogue are difficult for the audience to follow. When writing, ask yourself how the characters can communicate using as few words as possible.

The Rehearsal Process

We began rehearsals in early July, where I met the cast and creative team for the first time. Madison McLaughlin (Arrow on CW, Chicago PD), Jorge-Luis Pallo (The Secret Life of the American Teenager), and David Bloom (American Born Chinese on Disney+) starred in the production. I learned so much about the craft of theatre from watching them work!

The actors all brought an incredible amount of enthusiasm, talent, and dedication to the play. As we analyzed the characters, I discovered even more about the story, which I’d been working on for two years. We all grew very close during late-night rehearsals and became fast friends. The new relationships formed over the summer are one of the most transformative parts of the Young Playwrights Festival!

Lesson: Make space for creativity and rest

Our director, Laura Stribling, wanted the actors to feel free to make bold decisions onstage, so she let them improvise certain movements to see what felt natural. From this experience, I learned that stage directions should work for the actors, not the other way around. If you’re working on an original play and notice that a certain direction is uncomfortable or unnatural for the actors, it helps to step back and see if there is another way to approach this movement.

Though we usually rehearsed at night, I spent the rest of the day working on other writing projects. It’s easy to become burnt out while juggling multiple stories. I realized that I had to make time for rest so that I could bring my best self to rehearsal. Going on long walks, spending time with family, reading, and taking naps gave me energy. If you’re working on a production and want to recharge, try setting aside time in your day when you are not doing anything creative. Spending time in silence quiets your mind and reduces stress levels.

The Finishing Touches

The production ran from July 20-23 and was performed alongside two short one-act plays written by other winning playwrights. The West Coast premiere of The Groundwater was magical, and I’m so excited to continue developing this script.

We performed in the Skylight Theatre, a gorgeous venue in Los Angeles with an actual skylight.

Lesson: Shows will always evolve

After multiple productions and performances, a play is never “done” until a playwright decides that it is. The world of your story is like a sandbox: You can build and rebuild different parts of the story for as long as you’d like.

Our director decided to introduce classical music mixed with sounds of dripping water, which formed the musical motif of the show. We loaded in furniture pieces and then experimented with different technical elements. Blue and purple light represented moments where the characters are dreaming or feeling distanced from reality. It was wonderful to learn more about how technical elements highlight the emotions of a story.

The Blank Theatre has changed the lives of countless young playwrights, and I’m forever grateful for the summers I spent with the company. Working in the theatre this summer taught me how to revise a script to make it punchier and more efficient. I also learned how to balance a demanding rehearsal schedule with time to write and work on other projects. Through the friends I made on set, I once again discovered the joy of telling stories with other people and watching their talent shine onstage.

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How Your Work Ethic Helps You Grow

Patty Craft — Fri, 18 Feb 2022 21:27:39 +0000

Shreya Muju is living proof of the combination of a solid work ethic plus talent will get you. Shreya is a 2019 graduate of Rock Ridge High School’s Thespian Troupe 8104 in Ashburn, Virginia. She was the 2019 winner of the Educational Theatre Association’s Amy Bennett Musical Theatre Scholarship, funded by the Amy Bennett Foundation.

Shreya says the most important lesson she’s learned from her directors is: Talent will only take you so far. A solid work ethic is where you truly find growth. Today, Shreya is a student at the University of North Carolina School of the Arts (UNCSA) working toward a BFA in Acting. She continues to rely on her solid work ethic to shine in theatre just like she did in mathematics and other academic pursuits.

Keep learning and keep growing your craft. Workshops and festivals are ideal places to network and hone your skills. This year’s International Thespian Festival is happening in person in 2022 at Indiana University! It’s a great time to be among your theatre-loving peers and others in the International Thespian Society.

Check out the original post called Five Questions with Shreya Muju written by Christa Skiles to hear more straight from this inspiring thespian!

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Lighting Design: The Magic Backstage

Natalie Clare — Tue, 07 Dec 2021 21:09:23 +0000

Alex Vasquez Dheming is an International Thespian Society alum who works her magic backstage. She works primarily as a lighting designer and production manager. She also works as a lighting programmer, master electrician, production coordinator and sometimes stage manager. Alex puts all her talents to work bringing the story on stage to life!

She says each of these specialties has their own unique challenge and appeal. With lighting, she says, “I love … enabling people to feel, be it euphoria or despair. I think a lot of people don’t allow themselves to feel enough.”

She embodies a healthy work/life balance and says, “I don’t believe in ‘the show must go on’ anymore, if physical or mental safety is at risk. A professor of mine used to say ‘we’re not curing cancer,’ and I still believe that! I constantly work on keeping a sense of perspective on the work that we do, while maintaining respect for the craft.” Read more below about Alex’s multifaceted career in theatre.

SCAD Savannah – Spring 2016 – Performing Arts – Performances – “Rent” – Hamilton Hall – Photography by Justin Chan

Lighting Design: In the Designer’s Own Words

As a lighting designer, I create worlds and environments for stories to live in. We have so little control over what lighting does to us. For example, red light quickens our heartbeat. Blue light soothes us. The absence of light can make us afraid. A sudden blackout can take our breath away. I love creating art within this sensory and color theory knowledge.

Production management involves a lot of logistics: facilitating conversations, connections, communication, designs; creating schedules; arranging transportation; booking crew; creating riders for touring shows; maintaining budgets; working in tandem with both executive and artistic directors, and more! But the most important aspect of this job is setting the stage for how a production will run. It is non-negotiable for me to be in and to create a room where everyone feels empowered to ask for what they need, and to move with intention and care.

As a “younger” woman of color in this position, it brings me joy to bring together more diverse people with diverse points of views and lived experiences. I love working together to create art that speaks to historically underrepresented groups.

I also love having an impact on how sustainably we can create theatre. From small actions like limiting single-use plastics in the rehearsal room to reusing shipping materials. I believe that every action helps better the ways we create. Theater doesn’t need to be a wasteful art form.

Lighting Design: The Winding Road

My original plan was to study law in Nantes, France. Then I would get a Master’s in environmental law and practice law. But a few weeks before moving to France, I realized I really did not want to study law or become a lawyer!

Photo by Richard Termine

So, I took a sabbatical year to find what I really wanted to do. I continued taking language classes (French and Italian) and began teaching visual arts and dance to kids. I also continued dancing. (I danced from the ages of 4-19 and ended up getting a minor in dance in college).

Then in December of that year, I got into a car accident that required minor surgery on my elbow. I was crushed realizing I couldn’t perform in the holiday performance I had been rehearsing for.

To stay near the production I hung out backstage and tried to help. I had never paid attention to the technical elements and the energy backstage. I felt quite at home in it!

A New Direction is Found

Around the same time, I was reapplying to colleges, and the production design major at Savannah College of Art and Design (SCAD) caught my eye. It covered a lot: scenic design, costume design, lighting design, makeup design, film production, theatre production, themed entertainment, and more.

I honestly wasn’t 100-percent sure I understood what the career paths available were with a BFA in production design. But I had the support of my parents to do “whatever I wanted, as long as I gave it my all.”

Coming from a developing country where the arts aren’t really respected or valued because of the real threats of violence, poverty, corruption, and hunger, I struggled with the decision. I wondered whether I was “wasting myself” or whether I was being selfish by not dedicating myself to becoming a social worker or doing something to help with climate change.

SCAD offered me a very good scholarship, and with the support and advice of many older artists and mentors, I went for it. After the first year, even though I LOVED being immersed in art and creation, I still felt guilty and considered transferring to pursue a “real career.” Ultimately, I’m happy that I didn’t, because I do feel like this is where I belong, and I do believe that being in the arts is a “real career” and is important. Art is what makes life worth living, and where we as humans find solace and are allowed to dream.

See more of Alex’s work at her website.

Natalie Clare is a Cincinnati-based writer who composes original content for brands, organizations, and publications. As a storyteller, she writes fiction and nonfiction, and she directs and produces works of film. Visit her at nataliecwrites.com.

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