Training Archives - Dramatics Magazine Online

New Costumer’s Guide to Sewing

Andrew Koch — Tue, 20 Sep 2022 15:30:47 +0000

No one was born knowing how to sew. But you can be a great costumer regardless of your sewing experience level. Here’s a new costumer’s guide to sewing with eight tips that show you how to navigate costuming a show as a newbie seamster or seamstress.

NEW COSTUMER TIP #1: GET THE RIGHT EQUIPMENT

It takes just a few items to make a basic sewing kit. But if you (or your costume department) decide you’ll take on larger sewing projects, here’s what you’ll need:

A sewing machine: Consider a commonly known brand like Singer or Brother, so you can easily find online tutorials
An iron and ironing board
Straight pins
Tape measure ribbon, for measuring both fabrics and actors
A straight edge
A marking pencil: Consider different colors for different colored fabrics
A sewing gauge
Thread of the correct colors: Carry at least black, navy, gray, white and brown, as well as thread that matches color with the fabric you’re using

You’ll also obviously need your fabrics, as well as patterns for your projects. If possible, secure extra fabric in case you make a mistake or want to do a “trial” piece. Make sure to also check the back of the pattern for any notions you may need, such as zippers, buttons, or elastic.

NEW COSTUMER TIP #2: TAKE A SEWING LESSON

A sewing machine is one of the most important tools for creating costumes, but it’s no good if you don’t know how to use it! Local craft stores usually offer lessons on how to use the machines. You might even consider setting up a private lesson with an experienced seamstress (even if they don’t have experience costuming). You can also find tutorials on YouTube.

Don’t forget to read your machine’s manual, too. It will likely give you some ideas for how to better use it and what you can create.

NEW COSTUMER TIP #3: DESIGN WITH A PLAN

We’ve written before about how you should costume a show. Once you know what you’re getting into, be sure to plan ahead. What pieces will you need to make from scratch? What pieces can you make by simply altering something from a previous show? Don’t be afraid to take on projects that stretch your current sewing abilities—balance that with the need to get pieces done on time.

NEW COSTUMER TIP #4: BUDGET YOUR TIME APPROPRIATELY

Leave yourself enough time to finish all your pieces, and plan to start any labor-intensive projects earlier in the production. Your goal should be to have everything done ahead of the first dress rehearsal. That’s because you want time to adjust costumes that are ill-fitting or otherwise not appropriate. Also consider whether you need an actor’s measurements to begin a piece. If a design isn’t specific to a particular actor, you could even start before the show is cast.

Note that some patterns come with estimated project times, but they might not accurately predict how long the project will take you as a novice.

NEW COSTUMER TIP #5: CONSIDER NO-SEW OPTIONS

Before you make your first stitch, think about other alteration methods that could achieve the same results with less time and handiwork. For example, you might be able to use iron-on patches, or glue pieces together. Maybe you can combine store-bought pieces or repurpose something from your program’s costume closet.

And if stitching the fabric is absolutely necessary, consider hand-stitching. While it may take more time, hand-stitching could result in fewer mistakes (and less frustration!), and less time spent overall on the piece.

NEW COSTUMER TIP #6: CHOOSE PATTERNS YOU UNDERSTAND

When starting a piece from scratch, choose a pattern that’s easy to understand. Brands like Simplicity or McCall’s are designed for new seamsters. The instructions often include more pictures, with sidebars to help you understand more complicated techniques. Make sure you read the whole pattern before beginning.

Also consider using the same pattern to make several costumes, each in a different color. The first costume you make with a pattern will take longer, but you’ll be more efficient with each subsequent piece as you get more experience.

NEW COSTUMER TIP #7: CHOOSE THE RIGHT FABRICS

The amount of fabrics in a fabric store can be overwhelming. But despite that great variety, only a few are appropriate for the stage. Consider the many types, and compare them to other fabrics that are more cost-effective and easier to use.

For example, leather may provide the right “look” for a cowboy vest in Annie Get Your Gun. But leather is very difficult to work with and hot when it’s worn on stage. Flannel might be a better alternative: It looks about the same from a distance with the right lighting, and it’s much easier to work with (both on the sewing machine and while dancing!).

When in doubt, start with cotton or broadcloth. These fabrics are easy to use and cost-effective, and they can create a wonderful picture on stage. They also come in a variety of colors and patterns to add an air of complexity—while saving your sanity in the sewing room. You can add trim or use certain sewing styles to make these simple fabrics really pop.

Make sure your fabrics are also washable, and carefully follow any cleaning instructions. You want your costumes to remain in pristine condition.

NEW COSTUMER TIP #8: SAVE YOUR WORK

If your troupe has the appropriate space, hang on to any costumes you make. You never know when you might be able to reuse a piece in another production. (Check out this interview with a costume shop manager for some space-management ideas.)

Don’t forget to take pictures of your work to add to your portfolio! Try to have pictures both of the costume being worn and on hangers or a dress form. Capture any particular utility or special feature the costume has.

Andrew Koch is a writer and editor from Cincinnati. He’s still new to sewing, and also sometimes cross-stitches in his spare time.

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How Theatre Training Works in Football!

Michael Shann — Thu, 02 Dec 2021 19:32:05 +0000

My early theatre training and experience gave me the groundwork for the adventures I’ve had. My entertainment career has been a wild roller coaster ride of travel, working with amazing actors, directors, designers, and technicians, and more.

Every project I work on is, in some form or another, a SHOW. Each show involves a script, casting performers, hiring designers and technicians. Extensive preparation is always required – the show must be staged, rehearsed, and finally put in front of an audience, a collaborative effort by all. The theatre training I received in my high school, college, and early professional theatre days ALL come into play with what I do now.

Michael Shann courtesy of Carlos Gonzales (Star Tribune)

Theatre Training 1.0

My high school years were a long time ago, class of 1970 (Yikes!). I attended two high schools, one 9th – 11th grade and another for my senior year. I was on the varsity debate team at the first, very large, school. A major musical, with a full student orchestra, was produced each year but our debate traveling schedule didn’t permit me to do both. My senior year was at a much smaller school in a much smaller town, allowing flexibility for theatre and debate participation.

By the way, music and/or dance training – combined with your love of theatre – can bring you satisfaction and success in whatever you eventually decide to do. You never lose this kind of experience. My time spent endlessly practicing the piano as a kid – although I disliked it at the time – made a difference as I made my way through the professional world.

Theatre Training 2.0

In college, it didn’t take long for me to realize I wasn’t the most talented actor on the stage. BUT I seemed to “really get” directing and stage management. The theatre program, and a supportive faculty, gave me confidence that I could succeed. After graduating with a BS in Theatre and History, I landed a high school teaching position, a job that gave me a chance to work with high school actors. I’m still in touch with a few of them! My confidence followed me to graduate school, coming out on the other side with a Master of Fine Arts Directing degree and landing my Actors Equity Association union card as a Stage Manager.

For the Love of Theatre

Why does anyone choose to get involved in theatre? Well, it is competitive and fun, to start with. For some, it is a dream that might lead to fame and fortune. For others, it is a way to connect creatively with others and have your voice heard. And for many, many of us – theatre is a safe place to be different and express ourselves. No matter where your life choices and career take you, the love of theatre will always be there. Whether you become an actor or director, or a teacher, truck driver, accountant, or CEO, it will stay with you and help guide you.

For me, the theatre training brought a chance to travel and work in different parts of the country. I stage managed regional professional theatre, corporate theatre (called Industrial Shows), dinner theater (not many of these around anymore) and multiple musical theatre tours. After five years working professionally, I landed my first full-time entertainment job, stage managing for convention shows at Walt Disney World in Florida.

The Walt Disney Company and I spent a little more than 20 years together. My people management skills grew, as well as my technical and operational understanding of what it takes to entertain large crowds of people. The experience also helped me understand the film and television side of the business. It all begins with the story.

The Power of Networking in Theatre

As you continue your journey, your theatre network expands. Keep in touch with your theatre friends, share your experiences, and help each other. It takes a village! My theatre/entertainment contacts led me to where I am today. I was hired to produce the Olympic Games Closing Ceremony, in Russia, through my network of contacts going back many years. The next year, other members of my network helped me to secure the Producer role with ceremonies for the Pan American and ParaPan American Games in Canada. My first opportunity to produce an NFL Halftime Show came from, again, my network of theatre and entertainment contacts. The friends you make in the theatre world, in school, and beyond, can become some of the most valuable people in your life.

Connect with Michael Shann via LinkedIn or on Facebook.

Michael Shann is a live event producer with 30+ years of experience around the globe. His productions include large-scale sporting event ceremonies, conferences, product launches, arena shows, film premieres, and cruise line speaker/entertainment. Check out more of his work at Casting Spells Productions.

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Makeup for Black Actors

Destinee Steele — Thu, 28 Oct 2021 18:56:06 +0000

Today we are talking about essential products to have on hand when doing makeup for Black actors. These items are my best-kept secrets, but I am ready to share these secrets with you!

Makeup for Black Actors: Moisturizer and Liquid or Cream Foundation

The key to radiant skin is moisture and when dealing with melanated (highly pigmented) skin, the moisture gives stage lights something to reflect off. Light doesn’t bounce well off of matte surfaces, so remember that the reflective qualities in moisturizers and liquid or cream foundations help accentuate the features of the talent. Cool, eh?

But wait! Moisture does even more than just reflect light. Since moisturizer is usually the first product to touch the face it serves as a barrier between skin and other makeup products that will be applied. The pores in your skin are not endless pits so if your pores are full of good things like your favorite moisturizer, the yucky stuff can’t get in (like that third ingredient you can’t pronounce in that one product that you really love). Tip: Invest in good moisturizers!

When choosing foundation for the stage, I love going with a cream-based product like Ben Nye. Ben Nye and other theatrical makeup brands were designed with the talent in mind. With a wide range of colors and undertones for deeper skin tones, I am rarely let down by this brand. Cream-based theatrical foundations have the coverage and durability to withstand a sweaty night of performing. This is the main factor that sets theatrical makeup apart from streetwear makeup: durability. Liquid or cream foundations that are typically used for streetwear can be used for theatrical purposes, but note that the coverage and durability may be an element you sacrifice. All in all, use what you have access to. The product will work if you know how to work it, honey!

Matte Eyeshadows with Yellow and Red Undertones

Want some Brownie points? Have matte eyeshadows on hand when applying theatrical makeup unless the application calls for a specific modification. It is essential to me to have a range of brown eyeshadows on hand that have different undertones; they are game changers. It is a common occurrence to come across multiple shades in your talent’s facial skintones. You will find cooler tones and warmer tones. Having a range of matte brown eyeshadows on hand gives you the freedom to pivot if you need a brown to compliment the makeup application and give a flawless neutral eye. Recently there have been a couple of brands worth mentioning that have beautiful matte eyeshadows for deeper skin tones like Morphe and Juvia’s.

We all know that all nude pallets are not created equal. The way I like to navigate this issue is to assemble my own nude pallet for a specific skin tone by handpicking the eyeshadows for my Z-palette. This magnetic palette is a genius invention that lets you deposit your eyeshadows, blush, and lip colors all in one place.

Tinted Setting Powders

It is common practice during a makeup application to set your liquids and cream with powder. Setting powders reduce unwanted shine on skin. They lock in your liquid and cream products to reduce them transferring things like clothes or props. Too much of anything is a bad thing, and the same is true for setting powders. Too much powder can give your talent a ghost-like quality, especially if the powder is not tinted. Ben Nye has a beautiful range of setting powders that can be mixed to give you the perfect shade. You can also use this setting powder to even out highlight or contour that may have gotten a little intense during the makeup application.

But wait (again)! If powder reduces shine and gives a mattifying effect, doesn’t that conflict with the reflective quality of the moisture we have added to the skin? I’m so glad you asked. Balance is the key. Setting powder is very thin but is a product that can be built up for more coverage. Think about powder foundations that people use just to buff out uneven colors in their face. This is the same concept. Using thin layers of tinted setting powder will take away the excess shine without removing the radiance from the skin. We need that radiance and reflective quality to accentuate features under stage lights which brings us back to the importance of moisture!

I think we have gone full circle now about the basics of makeup for Black actor. Pop over here for a quick Black hair tutorial! And then watch for even more Tips, Tricks, and Takeaways with Destinee!

Destinee Steele has an MFA in wig and makeup design. She is the CEO of The Beauty Menagerie, LLC. She is also a Founding Board Member of Black Hair and Makeup United. Destinee is a regular content contributor to Dramatics.org. To learn more visit her at destineesteele.com.

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What I Wish I’d Known

Allison Dolan — Thu, 03 Dec 2020 15:10:36 +0000

FOR MANY HIGH SCHOOL SENIORS, graduation will mark the end of their theatre careers. There are others, however, who are facing a different journey: moving beyond the comfort and familiarity of their Thespian troupes to a new theatre family at the college or university level.

Never fear. Dramatics reached out to several recent Thespian alums ― all of whom are majoring in theatre in college ― for their thoughts on the biggest differences between their high school and college programs and for the advice they wish they’d received about making the transition.

Sophia Hillman

SOPHIA HILLMAN

Alum of Troupe 3310 at Olathe North High School in Kansas
Studying at Wichita State University

The biggest difference between high school theatre and college theatre is the overall dedication of the students and faculty. Everyone involved in the theatre community at the collegiate level is interested in pursuing theatre as a career or knows theatre will impact them dramatically later in life. This motivates college students to be more dedicated to theatre rather than high school students who frequently use theatre solely as an extracurricular activity. Although I knew this coming in, I was still surprised at the artistic motivation of my colleagues. Not a day goes by without someone creating something magical, and I couldn’t imagine being in a different field.

If I had to give myself advice through my transition, I would definitely say to trust yourself and live in the moment. It is very easy for most students to rush through their first quarter or semester of college rather than basking in the opportunities they have in this new phase of their life. Trust yourself to make the best decisions for you and surround yourself with people who understand your passions.

Jared Goudsmit

JARED GOUDSMIT

Alum of Troupe 748 at Kirkwood High School in Missouri
Studying at Tulane University

I don’t think I can draw concrete lines between high school and college theatre; there isn’t anything fundamentally different about putting on a show just because the cast and crew are older. I picked Tulane University ― a college with a warm and welcoming theatre program that expects your effort and commitment without demanding your tears ― because it reminded me of everything I loved about my Thespian troupe. Sure enough, the enthusiasm of my professors and peers, the support for young playwrights, and the goofy and fun-loving vibe of the Tulane department all take me back to good ol’ Kirkwood High (though having a whole building dedicated to performance is certainly new).

The number-one piece of advice I’d give my high school self is to make connections not only within the infamous “campus bubble” but also in the broader community as much as possible. Tulane is located in New Orleans, which is nicknamed “Hollywood South” for all the professional film and television projects that move here for an inexpensive shoot. Though COVID has unsurprisingly thrown a wrench in things, I’ve already had the opportunity to work as an extra ― and get paid! ― on three different sets, and I hope to snag a job as a production assistant in the near future. Wherever you go, there will be artsy folks. Meet them.

Brannon Evans

BRANNON EVANS

Alum of Troupe 5483 at Millard West High School in Nebraska
Studying at University of Nebraska-Lincoln

College theatre was a bigger shift than I was honestly prepared for. I didn’t quite grasp until I was in the thick of it how different doing theatre as an extracurricular activity vs. something I was studying was going to be. At first it was challenging finding the same excitement to do theatre, as I am doing it every day almost all day long in classes, then have rehearsals all night. Something that surprised me was how much my love for it grew, though. I was a little insecure and hesitant about studying theatre, but there’s no doubt in my mind this is what I am meant to be doing.

In college, there is a lot more commitment and a stronger work ethic. In high school, I feel like I kind of flew by on talent and luck alone, whereas everyone is on an equal playing field now in terms of talent. Now, it’s about being prepared and working hard. There is more collaboration in college. I wouldn’t say it feels like a competition. Even shows being cast, I feel more genuinely excited and happy for my peers than in high school. We all want to see each other succeed.

My piece of advice is to focus on yourself and your growth. Once you hit college, nothing is linear anymore. Your grade and seniority don’t really matter because everyone’s path and length of time in school is different. You can’t compare your chapter five to someone else’s 35. All you can do is see your own progress and focus on that.

Emily Martin

EMILY MARTIN

Alum of Troupe 3310 at Olathe North High School, Kansas
Studied at Webster University; transferred to Columbia University

One of the biggest differences I noticed between high school and college theatre is that college theatre is much more student-run. In college theatre, all the designers and even most of the production team is entirely made up of students. As a high school stage manager, I had never made a production calendar from scratch before. I was used to rehearsals being after school every day from 3 to 5:30 p.m. In college, I started coordinating schedules that were much more complicated and scheduling rehearsals and other production-related events without the help of a teacher or instructor. This was daunting at first but became much easier with practice and the help of some online scheduling tools.

I also noticed a difference in how student-run theatre was when I transferred colleges. While I was stage managing in a conservatory program, all the designers and most of the production team was made up of students; however, we still found the help and advice of many theatre professors and mentors when we needed it. At my new university, most of the theatre on campus is done by entirely student-run groups, leaving all the production responsibilities up to students. Both situations involve commitment from all students involved.

As far as advice, I would remind myself that everyone is coming to college theatre from very different levels of experience. Some have been doing theatre since they were 4, and others have only been doing theatre for a year or two. Some have tried every tech position, and others just love to act. Some came from schools with large budgets and have experience working with LEDs and fly systems doing large musicals on many different stages. Others are used to smaller-budget productions with minimal tech in a cafeteria or classroom. Whatever your experience is, be confident in your abilities. You love theatre, and you are coming to college to learn more about it. Be inclusive of everyone around you and all their different experience levels. And be ready to learn from all the new people you are surrounded by.

I attended my freshman year of college as a BFA stage management major in a four-year theatre conservatory program. There, I was immediately involved in productions working with incredibly talented students and active theatre professionals, and I took almost all theatre classes. After a year in the program, I gained a tremendous amount of respect for all the artists around me and learned a lot about theatre and professional stage management. However, I also realized I had several multidisciplinary interests outside of professional theatre, and I wanted to take a broader range of classes while I was in college to explore those interests. I added a double major in political science and took a few other classes outside of theatre and really enjoyed them.

After that, I decided to transfer to a four-year liberal arts university for the fall of my sophomore year. Now, I am a drama and theatre arts major, with an education studies special concentration. I’m taking a lot of classes that are very different from theatre and very different from each other, and I feel like I am learning a lot. I’m also stage managing a virtual show through my college. Theatre at my new school is very different from the kinds of productions I was doing at the conservatory program, but I’m still having a lot of fun making art and using many of the skills I learned last year. Even though we are online and not on campus this semester, I know I made the right decision to transfer.

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Theatre’s changing landscape

Matthew Wexler — Fri, 13 Nov 2020 20:56:14 +0000

THE SWEEPING IMPACT of COVID-19 feels like a plotline lifted from a newly unearthed Greek drama. But today’s headlines are all too real. The pandemic’s effects have rippled through every aspect of the theatre industry, from Broadway and regional theatres to high school and college training programs. But if history tells us anything, it’s that resilience and creativity always prevail.

Through the innovative use of technology, theatre is being redefined at a breakneck pace that may one day be called the pandemic renaissance. Dramatics looked at three perspectives that exemplify how possibility is transforming reality.

Gail Becker

REINVENTION AND INNOVATION

As of mid-October, Gail Becker found herself in the epicenter of Wisconsin’s COVID-19 spike. But that hasn’t stopped the musical theatre audition and college prep coach from finding ways to work with private students and lead Madison’s Capital City Theatre conservatory program as director of education. The technological capabilities required of those pursuing college theatre programs started emerging long before we all found ourselves on Zoom.

Becker says the university technology pivot began six or seven years ago, as more colleges began requiring prescreen audition submissions. What once demanded a digital camera and SIM card to transfer files can now be accomplished on a smartphone with an affordable ring light, attention to sound balance, and a few benchmarks for performing on-camera.

Small but important details can make a big difference, according to Becker. A tripod ensures steady filming and enables you to position the camera at a flattering angle, which is also better for posture and breath support. A neutral background allows the performance to shine — avoid show posters, family photos, and other visual distractions. Make sure the camera is set for horizontal (landscape) orientation — remember, you’re not making a TikTok video.

Now is the time to discover where the router is in your home. While Wi-Fi is convenient, the bandwidth isn’t as strong or consistent as plugging into the router with an ethernet cable. The connection also reduces lag time between sound and video, creating a more seamless final cut. A high dynamic microphone will more accurately capture the nuance and color of your voice, but even without this investment, experimenting with the placement of audio via a Bluetooth speaker or laptop can make all the difference.

Becker recently hosted a Zoom session with guest adjudicators Kaitlin Hopkins from Texas State University and Kevin Covert from Shenandoah University. Their insights tapped into the delicate balance stage actors face when translating their work to digital formats, particularly during a time when many final auditions will likely be held virtually.

Becker says one of the most interesting takeaways was regarding up-tempo songs. “As seen through a video feed, it often feels to the viewer that the music is getting away from the performer, like a wobbly train. It happens because the acting is competing with the music when you see it two-dimensionally,” Becker observed. “Pull back and choose your beats to be more focused. Less is more.”

It can be challenging to see the forest through the trees during these unprecedented times, but Becker believes technology is no substitute for the real deal. “Getting the economy back to the arts is essential,” Becker said. “Many have invested their hearts and souls in theatre — it’s not the hobby others think we do on the weekends.”

AN ACTOR PREPARES

When Broadway actor Telly Leung graduated from Carnegie Mellon University’s School of Drama in 2002, he couldn’t have imagined how the coronavirus would redefine the theatrical landscape. Even then, he knew he’d need to become what theatre artist Michael Kushner defines as a “multihyphenate — an artist who has multiple proficiencies that cross-pollinate to help flourish professional capabilities.” As an Asian American actor, Leung has long been breaking glass ceilings.

Leung made his Broadway debut in the revival of Flower Drum Song and most recently rode the magic carpet in the title role of Aladdin. Prior to the pandemic, his theatre career was flourishing, along with TV and film appearances. That all changed in March, and Leung quickly realized it was either sink or swim. In lockdown with his husband, a laptop, and a USB microphone, Leung turned their living room into a home studio while his husband spent the workday in the bedroom. He’s invested in “a soundboard and sound reflectors, better microphones, upgraded internet bandwidth, and more tripods than I can count” to create a makeshift studio in their 500-square-foot Manhattan apartment.

Technology is only useful if you know how to use it. Leung says theatre artists are banding together to help one another. Without any formal resource hub, former classmates and castmates barter skills to lift one another during this time. “I’m saying ‘yes’ to a lot more. I’ve never been busier or worked harder,” Leung admitted.

Leung’s classical training at Carnegie Mellon ― meant for the stage and “hitting the back row” ― is foundational but requires adjustments for the camera. “All the stuff you learn ― text study, objectives, and tactics ― is just playing for a different medium. Storytelling is storytelling. The lens captures everything,” Leung said. “But acting is acting. It’s been the same since the beginning of time. Good singing is good singing. You still need vocal technique.”

Leung encourages young theatre artists to experiment with quickly advancing technology. Using Zoom as an example, Leung has seen significant upgrades with each software update, particularly in audio settings. Users can now control input and output levels, suppress background noise, record separate audio files for each participant, and optimize for third-party video editing.

Leung has positioned himself to create his own work and to be at-the-ready for outside endeavors by embracing an entrepreneurial spirit and diving into learning software programs for video editing and digital audio manipulation. He also does private coaching and podcast appearances, and he co-arranged and recorded an Aretha Franklin-inspired version of Rodgers and Hammerstein’s “Climb Ev’ry Mountain” for R&H Goes Pop! – At Home.

“I have high hopes for young people,” Leung said. “It’s a scary and ambiguous time, but that also leaves the door open for what life can be. At the end of the day, we tell stories. It’s our calling: to share a story, to promote empathy, to step outside yourself, and to inspire others to do the same.”

LA MAMA: BREAKING IT OPEN

The internet didn’t exist when Ellen Stewart founded La Mama Experimental Theatre Club in 1961. Still, her vision for “uncensored creative freedom” has propelled the institution to support more than 5,000 productions from 70 nations throughout its nearly five-decade history.

Current Artistic Director Mia Yoo says digital work has created more “impact, access, and experimentation” for the Tony Award-winning, New York City-based regional theatre. She says the theatre community was hesitant to embrace online tools long before the onset of COVID-19. Yoo believes the quick pivot offers an opportunity to focus on new forms rather than be a stop-gap measure, saying, “This is the way we’ll have to start looking at art-making for the next generation of artists and audiences.”

La Mama co-founded CultureHub in 2009 with the Seoul Institute of the Arts to “explore how digital technologies could foster a more sustainable model for international exchange and creativity.” Already an artistic success with brick and mortar U.S. locations in New York City and Los Angeles ― as well as outposts in Spoleto, Italy, and Bandung, Indonesia ― CultureHub recently launched public access to LiveLab, a free, open-source video collaboration performance software created by artists.

Development began in 2015 but LiveLab went public this summer, enabling artists worldwide to create, collaborate, and produce multilocation performances. “Artists built LiveLab for art-making,” Yoo explained, “enabling users to customize media in ways that Zoom or Skype cannot.” Multicamera and audio streams from a single device, audio mixing and processing, and WebRTC (real-time communication) for advanced video capture are a few features that enable artists to push creative boundaries. An online user guide and video tutorials offer resources for new users. The technology is being used by resident artists for the company’s 59th season, “Breaking It Open.”

Though the process looks different, Yoo acknowledges there will always be a sense of “jumping off the cliff” when creating new work. No pandemic can squelch that exhilarating sense of the unknown.

“It starts with the artist,” Yoo said. “You must have the necessity to share or say something. When you find that kind of passion and give people the platform to try something they’ve never tried and take a risk — to give them the freedom to potentially fail — that’s when groundbreaking work happens.”

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Preparing for the Next Era

Jennifer Ashley Tepper — Tue, 27 Oct 2020 22:07:37 +0000

DURING QUARANTINE, I’ve been asked to give advice to theatre students and recent graduates quite a few times. (Virtually, obviously!) Here are the Top 10 things I’ve found myself saying.

Be More Chill creator Joe Iconis with producer Jennifer Ashley Tepper. Photo by Stephanie Wessels.

1. During this insane time, your number one priority should be your health and wellbeing, including mental health. Figure out what you need to get through everything going on ― physically, financially, mentally ― and ask for help if you need it. Take care of yourself.

2. What’s going on in our country is of utmost importance. Pay attention and take action. Obviously, there are a million reasons why you should vote if you’re eligible, do everything you can to get others to vote, and raise your voice about the issues plaguing America in every way you can. One of these reasons is the future of the arts and the future of artists. Do your research about what’s going on at the national, state, and local levels and find out which candidates and movements you can support and how.

3. One of the best things I did for my future self in middle school, high school, and college was assign myself things I wanted to learn about, separate from anything I learned in class. There’s a huge opportunity for everyone to do that now. Listen to the cast albums you meant to learn and didn’t have a chance to before. Assign yourself one theatre book per week that teaches you a new topic. Gather a group of friends virtually to watch a theatre-related movie, documentary, or pro-shot each week and discuss it. Give yourself writing prompts, acting assignments, or design projects about what you want to learn. Find whatever version of this advice works for you and structure it so it helps you learn and take advantage of the time you have.

4. As a theatremaker, the years in college and immediately after are so much about finding your squad ― about finding the people you want to collaborate with and forming bonds with them. Even though technology is no match for in-person connecting, finding your squad is not canceled. Find ways to connect with other artists, especially folks your age, and see what seeds you can plant during this time, whether it’s starting to work on something together or just getting to know better the people you want to work with in the future.

5. Find things you love to do and are passionate about outside the arts and develop those interests and skills too. Even in the best of times, almost every artist needs other work they can rely on doing in between jobs and shows. Whether it’s graphic design or social media management or baking or photography or nonprofit activism or teaching or anything else, hone the skills it will be helpful for you to call on in the future and that you can find authentic passion for.

6. On the flip side, find stuff within the arts ― different from what you’ve already focused on ― and learn about it. Are you an actor who has always thought about learning to play guitar? A scenic designer who has always thought about learning to design costumes? Are there skills you can learn during this time that will make you a better, more informed, more employable team member no matter which position you’re occupying on a show? And similarly, are there elements within your main field you can learn more about? Are you a choreographer who can educate yourself on new choreography technology? A theatre marketer who can learn video editing? A stage actor who can learn more about on-screen performance techniques?

7. Find out what theatre-related projects are happening near you. Is your local regional theatre doing virtual programming, and is there a way to offer your services as an intern and help from your bedroom or dorm? Is there a park near your childhood home doing socially distanced outdoor performances and in need of a production assistant? Is there a theatre near you planning their next indoor season that you can help in advance? Figure out if there are opportunities to participate, even if they might not look like the internships and jobs you would have originally planned during school and right after graduation.

8. It is no secret that there are barely any opportunities for arts jobs at the moment, and that’s likely to be true for a significant period of time. We all know (realistically) that when theatre returns it will be gradual. We know that during the next era, the arts job market will likely not be as robust, as every organization struggles to raise funds needed to reopen and continue to exist. There is no point burying one’s head in the sand. We are all worried about it, and we might as well name it and be honest about the prospects. But do not let this scare you away from pursuing the thing you love.

In addition to all the above, the next era is going to be an incredibly fertile time for new, scrappy, and creative ways to make theatre ― hybrids of digital and in-person performances or events in outdoor spaces and unconventional venues. Young theatremakers have always had to carve out their own opportunities. Some of the most exciting theatre in history has started with a bunch of emerging artists making something they believe in, in a small way that grows and grows. Audiences are going to be hungrier than ever for those experiences. Power players are going to be looking for artists doing these things successfully and will be eager to bring them to higher levels. So, there will be space for new artists to make their way and build successful careers. It is just going to take unique initiative, resourcefulness, and creativity.

9. So much of #ArtistLyfe is having no control over your own schedule, not being able to see family or friends as much as you’d like, not being able to go home to visit for holidays. If you can do so safely, embrace quality family time now. Spend time with your parents, your cousins, your camp friend, whatever. I recorded a bunch of family history interviews with older members of my family during quarantine. It was the best! Take advantage of the time you have with the humans in your life. You’ll remember those moments years from now when you’re on tour doing a 10-show holiday week.

10. Practice gratitude. Say thank you to your teachers a million times because they are doing the impossible. In general, try to practice gratitude toward everyone who is teaching you and working with you at school because there was no way to prepare for this and chances are they are doing their best with an extremely challenging situation. We all are. But things are not always going to be how they are now, and there is going to be an exciting next era to come. So, let’s treat each other with extra kindness no matter how frustrating things are. That includes treating yourself with kindness. Some days none of the things in the list above are going to feel doable, and you might just stay in your bed and eat cookies. That’s fine! I have been there. We have all been there. We will get through this time.

11. Bonus tip: Be as sad as you want to be about the things that are canceled or postponed. If this pandemic happened when I was a student and my senior musical/Thespian induction/graduation was canceled, I would be devastated. Feel how you feel. You are allowed.

The post Preparing for the Next Era appeared first on Dramatics Magazine Online.

Dancing Through Life

Anita Martin — Tue, 28 Apr 2020 13:09:21 +0000

LIKE THEATRE, dance is a social art — but not exclusively. We’ve all experienced the joy of a private dance party to our favorite tunes. In response to social distancing measures, many dance studios, companies, and artists are supporting solo dance sessions with free or reduced-price classes available through social media livestreams, Zoom sessions, or prerecorded videos.

There’s never been a better time to dance like nobody’s watching (because, really, nobody’s watching) — while still connecting with people around the world.

MUSICAL THEATRE

Dancer-choreographer Debbie Allen (Fame, West Side Story, Sweet Charity) and her Debbie Allen Dance Academy are offering global classes through Zoom, including a Broadway class with Kim Morgan Greene. Registration requires a $3 donation per class.

L.A. dance studio Edge Performing Arts Center is hosting free classes on Instagram Live, including Theatre Dance.

The Daily 8 Count was developed by actor-choreographer Brian Curl, a frequent dance teacher at chapter festivals and ITF. Every Monday, Daily 8 Count releases an original dance combination broken down into sections so Thespians can learn at their own pace. An email sign-up is required to access a free week of classes.

Learn to strut and kick like the Radio City Music Hall Rockettes. Rockette dancers are taking turns daily teaching sections from their famous kick line routines on the group’s Instagram Live account.

Finally, master seven classic Bob Fosse dance steps in this Dance magazine roundup of videos featuring the Broadway cast of Chicago demonstrating each move.

BALLET

Ever wonder what it’s like to take a class at Julliard? Now you can with Dance Division Director Alicia Graf Mack. Head over to Julliard’s IGTV channel for the full barre class. No barre? Just grab a chair, or better yet, two chairs widely spaced. That way, you can switch sides quickly without turning your back to the screen.

In March, Pointe magazine compiled a roundup of ballet livestream classes and other resources offered by prominent dancers hunkered down at home. Also check out YouTube ballet videos such as the popular series by former New York City Ballet dancer Kathryn Morgan, featuring occasional guest classes by Christopher Sellars of Ballet West.

TAP

Put on your tap shoes and head to the basement or ground floor for these online tutorials. If you don’t have a flat surface on which to tap in a ground-level room, or if you live in an apartment with residents below, we suggest practicing sans taps.

There’s a wealth of free YouTube tutorial channels, including Bill Simpson’s Just Tap, Ryan Campbell Birch’s Tap Dance Tutorials, Shelby Kaufman’s Tap Dance Tap-torials, expertvillage’s Tap Dance Instruction, and Masters of American Tap.

CONTEMPORARY STYLES

There’s some debate over what “contemporary dance” means, with some claiming it’s synonymous with “modern” or “lyrical” ballet, and others applying the term to any dance style that’s culturally current. For simplicity, let’s call it both.

Ailey Extension, a division of the New York City-based Alvin Ailey American Dance Theater, is offering a series of classes on YouTube that you can do any time, such as this musical theatre dance combination. Or dance along with live classes on Zoom and Instagram.

Ryan Heffington, two-time Grammy-nominated choreographer of Sia’s music video for “Chandelier” and owner of the L.A. dance studio The Sweat Spot, is hosting his Sweatfest class series on Instagram Live. Check out his account for updates on class dates and times.

L.A. dance studio Contra-tiempo describes itself as multilingual, “physically intense, and politically astute.” They provide weekly online programming through Instagram and Zoom.

Gaga, a “movement language” developed by Israeli choreographer Ohad Naharin, combines dance, mindfulness, and improvisation. According to its website, teachers are sharing eight, 30-minute classes per day, seven days a week, livestreamed from Tel Aviv and New York City.

SOCIAL DANCE

In a time of social distancing, you can’t exactly practice waltz steps for Cinderella or hone mambo moves for West Side Story — at least not with a partner. But you can use this time to brush up on the basic elements of social dances on your own.

From foxtrot to jive, gain a basic ballroom literacy for free at Ballroomdancers.com. There, you can watch tutorials on the elemental steps of international ballroom and Latin styles, American smooth and rhythm, and social and nightclub dances. Challenge yourself to learn both the lead and follow parts. Passion4Dancing.com provides free beginner video tutorials explaining the rhythms and essential standing and walking steps of American and international ballroom dance styles.

Livestream variety — All day, every day

Not sure what style or technique to try? Check out the livestream dance card at Dancing Alone Together, a website that “aims to be a central resource for the digital dance world that is beginning to bloom.” You’ll find an aggregated daily schedule of classes (mostly via Zoom) ranging from Gaga to belly dance to ballet.

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Alternative Roles

Allison Dolan — Wed, 15 Apr 2020 17:29:13 +0000

THESPIANS THRIVE when working on productions. Though some prefer the heat of the spotlight while others welcome the cool darkness backstage, most Thespians agree they’re happiest when the countdown from the final applause of one show to the table read of the next is short.

However, the effects of the COVID-19 pandemic have forced artists everywhere to find new ways to connect to their love of theatre. Below are five suggestions for staying engaged when not working on a show. Bonus: Some of these options provide the potential for earning Thespian points. Check with your director to clarify your troupe’s guidelines.

DISCOVER A SHOW

The best theatre practitioners are highly literate about theatrical works. They’re familiar not only with topical contemporary plays but also with classic scripts that broke new ground when they debuted.

Use your time to discover a play or musical that’s new to you or to dive deeper into an old favorite. Need ideas about where to start? Check out these suggestions for 20 plays to read before college, then try 20 more once you’ve tackled the first set. Some are likely to be available digitally from your local library. Not sure how to peruse a script for more than its basic plot? Explore 30 approaches to reading and thinking about a play.

Platforms such as Spotify or Pandora allow you to listen to original cast recordings from musical theatre favorites. Or, for ways you can watch full-length plays or musicals at home, check out this list of ideas for streaming theatre productions.

Gabie Robinson, a junior from Jemicy School’s Troupe 8269 in Owings Mills, Maryland, has used several of these techniques. “I have read two scripts, listened to a ton of Broadway music, and have rewatched a few musicals on Netflix.”

Take a class

Many individual artists and theatre companies are offering free online classes for those looking to use their extra time to hone theatre skills. Lauren Gunderson, the country’s most produced playwright, is hosting tutorials via Facebook Live (all of which are archived on her Facebook page), including one targeted specifically at teen writers.

The Broadway Teaching Group provides free, 30-minute online classes featuring Broadway professionals. Classes are broadcast on Facebook Live and archived on the organization’s website. Presenters have included Hamilton music director Ian Weinberger, Frozen performer Alicia Albright, and playwright John Cariani, whose Almost, Maine has been the most produced high school play for the last five years.

Camp Broadway’s At this Stage offers lunchtime conversations with Broadway performers, designers, authors, career advisors, composers, and others. All sessions are free, but you must sign up to attend.

“The Broadway Collective is holding classes right now for free,” said Breyanna Ashley-White, a sophomore in Troupe 3183 at Hanford High School in West Richland, Washington. “Just sign up using the link in their Instagram bio.”

You can also lead your own online learning. Sophia Urban, a senior in Troupe 5981 at Champaign (Illinois) Central High School, says her peers are “having online dance rehearsals on Zoom,” while Naomi Zahn, a junior from Troupe 4146 at Ramstein High School in Ramstein-Miesenbach, Germany, said she is “singing all the time, recording and studying facial expressions in shows.”

EXPLORE ARTISTS AND CAREERS

You’ll find a wealth of video resources about the theatre industry online. Take this time to explore careers or artists you don’t know much about. The American Theatre Wing, the nonprofit organization that presents the Tony Awards, hosts a video series titled “Working in the Theatre.” Episodes cover onstage and backstage careers, from improv to playwriting to props.

For film and television fans, The Hollywood Reporter hosts the “Roundtables” series with producers, writers, directors, and actors from film and television, while the New York Times’ “Anatomy of a Scene” segments give directors the opportunity to explain their choices regarding specific details in one scene of their recent films.

PICK UP A PEN

Is your next show locked inside your imagination? Pick up a pen and add your masterpiece to the theatrical canon. If you’re not sure where to begin, check out playwright D.W. Gregory’s four-part series on writing a character-driven play. Gregory, best known as the author of Radium Girls, walks prospective playwrights through understanding character development, drafting exploratory scenes, mapping major events, and advancing the play’s action.

Once your outline is in place, explore Stephen Gregg’s advice for writing realistic dialogue. Whether your idea is big or small, whether you’re a veteran writer or new to the craft, there’s a lot you can learn about all aspects of theatre by revisiting the basics of storytelling.

Gabi Garcia, a 2019 Thespian Playworks winner and alum of Troupe 5604 at Sunset High School in Portland, Oregon, has been using her time to start a new story. “I’m working on some long overdue writing projects,” said Garcia. “Sometimes I do writing exercises to get my brain going before I actually set to work on a play, like writing short poems or lists of ideas. One of my favorite collaborative writing exercises you can do at home with two or more friends and an internet connection. First, each person writes the first 10 lines of a five-minute, two-actor play. It can be about whatever you want — usually for this exercise, the weirder and funnier, the better. Next, swap your draft with another person. Read the first 10 lines and come up with a logical, 10-line climactic moment for the play you’ve been handed.

“After that, everyone swaps again — no one should have their original play yet. The third writer reads the two 10-line moments and wraps them up with a 10-line conclusion. Finally, everyone gets back the play they started and reads how people took inspiration from their writing to create a fully-fledged arc. The final step is to fill in any blanks between the three moments to create a full script. It’s a great way to get some social interaction and get your creative juices flowing!”

Not a writer? Try working on a design or directorial project instead. “I have found a play, and I’m creating a bunch of drawings and notes on what my vision would be for the show as a director,” said Amelia Smith, a junior in Troupe 577 at South Salem High School in Salem, Oregon. “Even though some of the technical aspects are out of my comfort zone, it is really interesting to explore how I would interpret all the aspects of a show. I am also writing a play with my friend through a shared document, phone calls, and video calls.”

UPDATE YOUR PORTFOLIO

If you’re interested in pursuing theatre after high school, either in college or in your community, you’ll benefit from a strong digital portfolio. Avoid the audition or college interview scramble by taking time now to build or revise your website to ensure you’ve put your best foot forward. Update your resume, add sample photos, and create video reels to showcase your work. Get started with these tips for building your personal brand online.

Finally, as you’re honing new skills, don’t forget to make time to socialize. Sometimes what’s most important is simply connecting with your troupe members. “I try to stay in touch with my troupe, and we have online chats about theatre,” said Nyeelah Brown from Troupe 8806 at Blanchet Catholic School in Salem, Oregon. “It really helps because we all are leaning on each other during this time.”

Positivity and flexibility are key as Thespians shine on during this difficult time. According to Johnica Spenneberg, a sophomore in Troupe 8704 at Carroll County High School in Carrollton, Kentucky, “Our troupe is staying connected by uplifting each other! Whether it be new plays to read or musicals to share, we inspire and encourage one another to try new things while at home.”

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Catch Your Next Show at Home

RaeNosa Onwumelu — Wed, 08 Apr 2020 13:17:20 +0000

FOR THESPIANS, there’s no substitute for coming together to watch a show in real time. But with live performances across the nation canceled or postponed, we’ll have to take theatre where we can get it for now: through a screen. Luckily, there’s never been a better time to binge-watch those classic productions you’ve been meaning to see.

Streaming services including Broadway HD, Netflix, Amazon Prime, YouTube, and others bring film adaptations of popular plays and musicals, as well as recorded stage productions and live solo performances, directly to your living room. Here’s a roundup of reasonably priced, high-quality streaming services providing theatre at home.

YOUTUBE

YouTube offers a free option for those in need of a quick theatre fix, with several professional companies providing limited-time postings from their archives. The National Theatre in London boasts one of the best collections of high-quality recorded stage productions in the world. The company is now streaming full-length plays every Thursday through its YouTube playlist, National Theatre at Home. The series allows a week of free access to every production posted.

Each fortnight (that’s every two weeks for those unfamiliar with the Bard’s language), Shakespeare’s Globe Theatre also will release a free production on YouTube. Upcoming titles include Hamlet, Romeo and Juliet, A Midsummer Night’s Dream, and The Merry Wives of Windsor.

If you prefer musicals, composer Andrew Lloyd Webber is sharing one production from his personal canon each week on the YouTube channel The Shows Must Go On! Recordings are posted at 2 p.m. EDT every Friday and remain active for 48 hours.

You can also view Stars in the House, a new show on The Actors Fund’s YouTube channel that airs live musical performances by theatre stars daily at 2 p.m. and 8 p.m. EDT. Performers including Billy Porter and Audra McDonald have given mini-concerts on this Seth Rudetsky and James Wesley-hosted show.

PBS

Viewers can stream a selection of PBS shows and concerts from the Live from Lincoln Center and Great Performances series for free through May 27. Available titles currently include The Sound of Music Live!, Shakespeare in the Park’s Much Ado About Nothing, and concerts by performers including Sutton Foster and Cynthia Erivo. When you donate at least $5 per month to your local PBS station, you also can access PBS Passport, a digital on-demand library that includes the Masterpiece collection.

KANOPY

Many U.S. public libraries offer access to digital film collections with no fees or ads. One example is kanopy, which provides a wide collection of independent films, including adaptations or recordings of Shakespeare and other theatre productions, as well as actor spotlights. Check your library website for participation in kanopy or similar digital platforms.

BROADWAYHD

BroadwayHD provides more than 300 titles (Broadway and otherwise) to choose from, with new selections added monthly. A subscription costs $8.99 a month or $99.99 a year but, in response to the COVID-19 pandemic, the service is offering a free seven-day trial.

You can watch full-length, critically acclaimed productions on demand, including Kinky Boots, Bye Bye Birdie, The King and I, Cats, and The Phantom of the Opera. BroadwayHD also hosts the full catalog of American Film Theatre, a mid-1970s project that created high-quality film versions of great American plays to screen at movie theatres across the United States.

DIGITAL THEATRE

For buffs of classic British performances, Digital Theatre provides an assortment of plays from the Royal Shakespeare Company and the Old Vic plus modern must-sees such as the Regent’s Park Open Air Theatre production of Into the Woods. You can also find productions of shows by American playwrights, such as Eugene O’Neill’s Long Day’s Journey Into Night and Arthur Miller’s The Crucible.

For a well-rounded performing arts experience, Digital Theatre also hosts opera, dance, and classical music performances. Subscriptions are approximately $12.50 per month.

MARQUEE TV

Marquee TV, a U.K.-based, multigenre streaming service, expanded to the United States in early 2020. Designed for culture lovers and the art-curious, the service offers masterpieces of theatre, dance, opera, music, and documentary film. Its theatre category includes productions from the Royal Shakespeare Company, Shakespeare’s Globe, and more. After a 30-day free trial (expanded in response to recent world events), viewers can continue streaming for $8.99 a month.

AMAZON PRIME

Amazon Prime’s collection of theatre classics rivals that of more specialized platforms. For example, viewers can stream at least seven different versions of King Lear and two versions of Into the Woods. Its collection also includes titles from the BBC’s Shakespeare archive, including John Cleese’s The Taming of the Shrew, as well as many musicals including Chicago, Fiddler on the Roof, Cinderella, Newsies, and The Wizard of Oz. Amazon Prime costs $119 a year, but you can sign up for just Prime Video for $8.99 per month. A 30-day free trial is available.

NETFLIX

You can enjoy adaptations of several Broadway shows on the popular Netflix platform, such as Shrek the Musical, Jersey Boys, American Son, and Sweeney Todd: The Demon Barber of Fleet Street. You can start streaming Netflix with a free 30-day trial and continue for $8.99 a month.

L.A. THEATRE WORKS

Following in the grand tradition of radio plays, L.A. Theatre Works has recorded more than 500 live performances, from Shakespeare to Arthur Miller. Each week, LATW offers a free broadcast via public radio stations across the country, but you also can purchase individual podcasts, streaming audio, and radio shows for $4.99 each.

AUDIBLE

For a limited time, Audible Theater is offering free audio versions of recent stage productions narrated by original cast members, from Lauren Gunderson’s The Half-Life of Marie Curie to John Leguizamo’s Latin History for Morons to Sean Hayes in David Javerbaum’s An Act of God. You can sign up for a 30-day free trial subscription, followed by $14.95 per month.

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So, You Want to Work on Broadway?

Brooklyn Chalfant — Mon, 02 Dec 2019 14:47:47 +0000

LIKE MANY YOUNG Thespians, I once dreamed of working on Broadway. But in my tiny Midwestern school, I thought that was all it could be — a dream. By age 17, I decided to be “realistic,” and I placed my performing days behind me. But my love for theatre endured, leading me to found and serve as president of Thespian Troupe 8096 at Christian Academy of Indiana my senior year. This experience taught me about leadership, how to advocate for school theatre programs, and the impact of arts education.

As a result of my high school theatre experience, I attended Lipscomb University in Nashville, Tennessee, where I studied theatre education with hopes of becoming a high school teacher. In association with the Tennessee Performing Arts Center, our university co-sponsored the Spotlight Awards, a regional affiliate of the National High School Musical Theatre Awards, also known as the Jimmys. As a future high school theatre educator, I looked for ways to get involved, helping my professor, the director of the program, with various administrative tasks.

That year, my friend Hatty was nominated for a Spotlight Award. Hatty was a senior in high school and planning to attend Lipscomb University the next year. Before she matriculated, she won the Spotlight Award for Outstanding Lead Actress and was named one of eight finalists for the Jimmy Award for Best Performance by an Actress.

When she returned from New York and we became college classmates, I saw the positive impact that experience had on her and the Nashville high school theatre community. I wanted to learn more about The Broadway League Foundation, which manages the program. Consequently, I did what any young dreamer would do: I applied for an internship.

The league offered four summer internships, and the one I wanted was in education and audience engagement. I knew that applying for such a competitive internship was a long shot, but with the confidence of Millie Dillmount singing “Not for the Life of Me,” I sent in my application anyway.

Applying

Internship applications typically consist of three parts: a cover letter, résumé, and references. The cover letter is your first impression to your potential employer, so make it stellar. This is a chance to convey your passion for the position that cannot be expressed in your résumé. I always end my cover letters with specific positive feedback to the company, because that tells the reader what you love about the organization, and it proves you researched the position. Be honest, be professional, and proofread. Definitely proofread. (Did I mention proofreading?)

An arts administration résumé is not the same as an acting résumé listing hair color and vocal range. It is instead a business document detailing your work or volunteer experience relevant to the position. If it’s not obvious how your experience relates, use action words to argue why it does. Perhaps you worked as a babysitter? Don’t say, “I watched my cousins on Fridays for some cash.” Instead, say, “I supervised school-age children, managed behavioral conflicts, and supported positive emotional development and relationships.”

When it comes to recommendations, ask an adult familiar with your work ethic or abilities and willing to speak on your behalf. Make sure you give your references details about the position and a month to compose a quality recommendation. Always follow up with a thank you letter.

One month after applying, I was offered an interview, which in the business world is like a callback and requires similar preparation. Revisit your research and remind yourself why you want to work for the company. Prepare questions that demonstrate your knowledge of the company and interest in the position. Find a friend or family member to review your application and ask you practice questions. Finally, dress for success. Since I was living in Tennessee, I interviewed over the phone, but you better believe I wore business attire. My preparation paid off. After a week of waiting, I was offered the internship.

Yes, and …

Being from a small town, the biggest city I knew was Nashville. Moreover, I had never lived on my own. Navigating New York turned out to be an adventure.

I arrived in May, just as the weather turned hot. I didn’t have a car in the city, so I learned to use the subway, and I walked … a lot, maneuvering Times Square to get to work (headphones in, head down, hopes high). Everyday tasks turned into afternoon escapades, as I learned to haul groceries or laundry 12 blocks north and up five flights of stairs. When the hustle and bustle overwhelmed my flower-child heart, I visited city parks and gardens. As I adjusted to a New York state of mind, I took advantage of living in the city, winning Broadway ticket lotteries, participating in Times Square yoga, and attending the Tony Awards — all results of keeping my eyes open for opportunity.

Adapting to this new environment helped me see life as one big improv show. I began saying “yes, and …” to the prompts around me. While working at the Broadway League, I jumped at the opportunity to volunteer for a special event. This put me behind the scenes at Stars in the Alley, greeting Broadway performers. During the week of the Jimmy Awards, I was asked if I would mind “waiting with Vicki.” It turned out that Vicki was a beautiful, regal woman with a kind smile and the best stories. We spoke for the next half-hour about the talented kids in the awards program, she asked about my dreams and plans, and I asked about her son, whom she adored.

The next week, while working the VIP ticket table, I heard my name across the crowded lobby. I like to imagine if Sarah Ruhl wrote a play about my life, that scene would go like this:

VICKI: Brooklyn!

A goddess divine in a royal blue jumpsuit, VICKI, crosses DSL to where BROOKYLN stands in a sequin frock, smiling and sweaty, per usual.

VICKI: It’s so good to see you again.

BROOKYLN: So good to see you, too!

They do that Italian kiss-on-both-cheeks thing. Music fills the air, angels sing, and BROOKLYN is suddenly acne-free and fabulous, in the style of VICKI.

BROOKLYN: Here are your tickets. Enjoy!

VICKI: Thanks!

VICKI exits. BROOKLYN turns to see her fellow intern, mouth agape.

FELLOW INTERN: OMG, how do you know Victoria Clark?!

BROOKLYN realizes her new BFF VICKI is the Tony Award-winning actress who starred in, among other shows, The Light in the Piazza. Brooklyn considers for a moment chasing VICKI to tell her all about the time she directed that play for a term project. Instead, she faints dead away. Fin.

Okay, so that was a slight exaggeration. The point is, I quickly realized that saying yes opens doors to new possibilities, unique experiences, and amazing networking opportunities. Take advantage of the position you have been given and make yourself available.

Act well your part

The Thespian motto is Alexander Pope’s famous quote, “Act well your part; there all the honor lies.” This doesn’t just apply to being onstage. In a company, every person is vital to the success of the organization. There are no small parts, only small interns. (And at 6 feet, 1 inch, I don’t qualify as a small intern.)

My daily office tasks began with showing up on time. This may seem straightforward, but remember when you worked tirelessly to represent yourself as the best candidate for the job? Don’t lose your good impression first thing in the morning. As in rehearsals for a show, early is on time, and on time is late.

After arriving at work, my first step was to review my personal task list to see which projects needed my attention. As a summer intern, my primary work was assisting with the Jimmy Awards at the end of June. The event is a weeklong marathon in which 80 student nominees gain exposure to Broadway shows and attend master classes with theatre professionals, all while preparing for a Minskoff Theatre performance and the chance to win scholarships. While that week is rigorous, administrative work for the event began long before I showed up.

Mid-morning, I would meet with my supervisors to see if they had additional tasks for the day. Then, I would move forward, documenting meetings, filing, managing databases, and whatever else came up. As an intern I was part of a team, but I was expected to be independent and reliable. I had to keep track of projects throughout the department, which taught me organization and priority management. I also drew on skills I learned as a Thespian, such as collaboration, confidence, and problem-solving. One of my favorite activities was reviewing materials from regional awards programs and learning about the education initiatives produced by Broadway venues across the nation.

The business of Broadway

The Broadway industry is so much more than the phenomenal performers who put on eight shows a week. Backstage there are dressers, wig artists, stage managers, and security personnel. In the theatre buildings, there are house managers, ushers, box office workers, and theatre owners. Before a show gets onstage, producers, directors, choreographers, and designers make it happen. And I still haven’t mentioned the personnel involved with Broadway shows that travel across the country in more than 200 regional venues. I worked in administration, which includes marketing, education, legislation, membership, and much more.

As an intern, I worked in an office with marketing masters, brilliant administrators, and fellow interns who stunned me with their abilities and helped me develop mine. When my supervisor realized I had a knack for organizing, she opened doors for me to improve the office by creating systems for organizing office materials and honing my spreadsheet skills. Knowing that I wanted to be a teacher, she allowed me to be onsite during awards week, where I spent time with the student nominees. Tiffany, a talented graphic designer working as the digital content intern, saw her advertisement designs printed in the New York Times, and Brittany, the membership and professional development intern, used her management skills to create online networking opportunities for young theatre professionals.

Broadway is a business that employs more than 100,000 people and contributes more than I can comprehend to the culture and fabric of our country. Suddenly my high school mindset that “I could never work on Broadway because I am not a performer” was replaced with the realization that all kinds of people with various talents comprise the beautiful thing that is Broadway.

Unlimited

I wish I could tell you that this story ends with a movie-worthy montage of me being discovered by Sir Andrew Lloyd Webber at Ellen’s Stardust Diner. Or that Lin-Manuel Miranda heard my story and is turning it into a hip-hop musical. Alas, that is not the case.

Instead, I am living out my own version of “happily ever after.” After the internship, I stepped off the plane back into my tiny-town life, followed by the encouraging words from one of my colleagues in the audience engagement department: “Brooklyn, you are a fantastic administrator, but you belong in a classroom. I have never seen anyone light up the way you do when you are around kids. You have to take some time and give teaching a try.”

Despite my amazing experiences as a Broadway intern, I knew that my heart belonged in a classroom. I now work as a high school teacher, directing Thespian Troupe 8096 (yes, the same one I founded at my old school). In the faces of my students, I see the same passion for theatre that propelled me. I use my résumé writing advice to help them apply for jobs. We use “yes, and …” to seek opportunities to grow and learn. We act well our parts as collaborators, problem-solvers, leaders, and dreamers. I know that every one of my students has a gift they can share, and that’s why I became a theatre teacher: to help students see that they can create the world they dream about.

So, you want to work on Broadway? Go for it! Use your talents however you can, whether onstage, backstage, in a studio, or at a desk. As Elphaba famously sings in Wicked, “Unlimited … your future is unlimited!”

This story appeared in the December 2019 print version of Dramatics. Learn about the print magazine and other Thespian benefits on the International Thespian Society website.

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