Thespians Archives - Dramatics Magazine Online

Ride Your Feelings with Confidence

Patty Craft — Tue, 07 May 2024 19:22:08 +0000

Feelings. They’re powerful, and as a Thespian, you probably have plenty to contend with – nerves before auditions, anxiety leading up to a performance, and the general stress of being a student.

When you successfully manage emotions, they can help you become a better actor and find more joy in your theatre journey. But how do you learn to make your feelings an advantage?

Math Matters, Here’s Why

Wait! You thought we were talking about feelings and now you see the M-word: math. Fear not, we’re only talking about the basic math of the booking ratio.

In simple terms, a booking ratio is the assumed number of auditions an actor does to get cast once (or to be booked). In the professional world of acting, agents have an expectation of how many auditions are reasonable for an actor to do before winning a part.

For example, an agent’s booking ratio may be 1:25, meaning 25 auditions should lead to one booked gig.

Both sides of this equation

First, think about the ratio from an actor’s point of view. You may need to prepare and audition for 25 different shows to get one role! That’s an average, of course, and your actual experience could be fewer or more auditions.

Understanding a booking ratio this way helps you avoid living and dying by each single audition. Prepare methodically, then show up with passion and a desire for the part. Once you’ve done what you can to stand out, trust the process.

Second, the flip side of the booking ratio from the agent’s point of view helps actors understand that it’s a realistic expectation to do 25 auditions to earn a role.

Set your own booking ratio

The professional world of acting is a much larger sphere than your high school troupe’s productions and/or community theatre opportunities combined. Yet now is a great time to set realistic goals and, again, not live or die by each audition’s results.

Know how many opportunities lie ahead in your high school and/or college theatre career. Set a goal, prepare, and trust the process. The reality of auditioning beyond your school career will seem less brutal with a realistic approach.

Audition Prep Includes Positive Thinking

A wise mentor once said: “YOU are not sad. Sadness is on you.”

Let’s back up. Imagine another audition is coming and you’re eager to get a part in the show. You’re nervous about the actual audition, happy about the opportunity, then suddenly “sadness is on you.” Those emotions of sadness may include a heaviness in your body, tears springing to your eyes, a tightness in your throat. Why? Because you remember not getting a part in the last two auditions.

Suddenly your mind thinks: “I’m not good enough to be an actor, so why am I even auditioning? I’m making a fool of myself trying out and no one is telling me how bad I am!”

Stop right there. When sadness is on you, YOU are not sad. You’re having a combination of body reactions then thoughts. Yes, it can be uncomfortable or even downright painful so go ahead and set a timer and ugly cry for five minutes. We get it.

After five minutes though, remind yourself you have power over those thoughts and stop them immediately. Take a cue from the meme that says, “You’ll talk more to yourself than anyone else in your lifetime. Talk kindly.”

Negative thoughts waste valuable prep time

If you’ve decided to audition, and you have a legitimate concern that you need to improve in a specific area, talk with your troupe director. Get input from trusted advisors on how to sharpen your skills for a better chance of winning a role. Use positive thoughts to redirect your focus on productivity that helps you grow.

Once you’ve stopped that rash of negative thoughts, ask yourself what you’ve learned since those previous auditions when you didn’t get a role. Remind yourself, for example, that you’ve learned to make better audition selections. Or remind yourself that the weight training, running, or yoga you’ve been practicing has helped you be more physically able to handle on-stage fight scenes. Even remind yourself of the booking ratio and the fact you’re not going to get every part (1:25!).

You Got the Part! Now, the Next Hurdle

Congratulations! Now let’s get ready for the rigor of rehearsals. The director’s job is to bring all the parts of a production together for a thrilling performance. Their job is, in part, to identify problems with the show and work with the team to solve them for a better outcome.

It’s important to have thick skin during rehearsals. What do we mean by “thick skin?” Train yourself to not react negatively to criticism or corrections. Learn to listen to the corrections with an open mind. Regardless of how the critique sounds, there’s goodwill behind it: the director wants to help you have your best possible performance.

Directors are only human. Like you, they’ve likely had a long day before even getting to rehearsal. And just as your personal life or your physical well-being changes from one day to the next, so does the director’s. We rarely know what others are dealing with.

Of course, if you think you’re consistently being unfairly treated by the director, make an appointment to speak with them, face to face, outside of rehearsal. Be ready to share a couple specific examples of when you felt you were treated unfairly and give them a chance to respond. Clear communication, paired with your thick skin, will go a long way. Together you’ll likely forge a stronger working relationship.

Emotions Are an Asset, Not a Lability

As a Thespian, there’s a chance emotions are even more present in your day-to-day as you step out of your comfort zone on and off the stage. The bottom line is it’s OK to feel them.

The thing to focus on is how you turn them into an asset. Whether it’s putting rejections into perspective with your booking rate, setting intentions during your audition prep, or opening yourself to feedback once you get a part, there’s plenty of strategies to try.

And if all else fails, remember, the best plays and musicals are the ones that take the audience on an emotional roller coaster – leverage yours to make it happen!

Patty Craft is a regular contributor to Dramatics.org.

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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.

The post From Thespy Stage to Working Artists appeared first on Dramatics Magazine Online.

Callback Audition: An Actor’s Guide

Andrew Koch — Fri, 01 Dec 2023 14:19:11 +0000

Congratulations! You made it through a nerve-racking preliminary audition. But now you’ve been asked to attend another round of evaluation: the callback audition.

If you’ve never been, callbacks can seem intimidating. Here’s what you should know ahead of time, and how you can make the most of it.

What Are Callback Auditions?

Most shows have auditions, for which actors might be asked to prepare a monologue and/or (if the show is a musical) a song. Casting directors and other members of the production team use auditions to evaluate actors’ potential and make decisions about who will fill each role.

A callback audition is a second wave of testing: an opportunity for directors to finalize a cast list. Quite literally, actors are “called back” to the audition space to continue vying for a spot in the production. For some directors, callbacks are merely a “final cut” for certain roles. Others use callbacks exclusively to fine-tune a cast list they’ve already made.

Who Gets a Callback?

Generally, actors who receive callbacks for certain roles are the finalists for those roles. However, some actors may be asked to read for multiple characters.

What Will You Be Asked to Do?

Unlike auditions, you likely won’t need to memorize any materials ahead of a callback. Most callbacks involve readings from the play or musical: You’ll be given the script and asked to perform certain scenes from the show for the production team, likely alongside other actors who have also been called back. Sometimes you’ll be given some time with the material, other times, you may receive the material at the callback and be asked to perform a “cold reading,” without much prep time at all.

Note you may be asked to read for a role you didn’t audition for. Follow the director’s request, even if you aren’t interested in that role; they may simply be experimenting, and you can always decline a role if you don’t want it. (Who knows? You might be surprised to find you like playing an unexpected character!) Mostly, you want to appear receptive to the creative process of the director, display an apt ability to make strong choices and take risks, and be game, willing, and pleasant to work with.

7 Tips for a Great Callback Audition

Much of the same audition etiquette advice also applies to callbacks. Be courteous and professional, arrive early, and bring your acting resume.

Specifically, keep these principles in mind:

A Thespian participates in Thespy adjudication at ITF 2023. Photo by David Slaughter

Carefully follow all instructions: Prepare any materials as instructed and stay active and engaged during the callback itself.
Know the show: Now that you’ll be performing lines from the show itself, it’s even more important to understand the show and your (potential) role in it. Familiarize yourself with the character(s) you’ve been asked to read for. You won’t be expected to know every nuance of a character yet, but study at least the basics: the character’s motivation, their brief biography, and their dramatic arc throughout the show. If you have time, read the whole script, or watch a recording of the performance. Of course, if the show is a brand new original work, you may not have the ability to learn much ahead of the callback. Do as much research as you can.
Be flexible: As in auditions, directors are evaluating how well you take criticism and can adapt to their vision. Listen to and incorporate their suggestions for how to read a line or approach a scene—even if you don’t necessarily agree with them. Try things various ways, if you get the opportunity to read more than once.
Support your fellow actors: If you’re asked to read with another actor, treat them courteously and respect their creative decisions. The casting director will likely be assessing how you and other actors interact—both your on-stage chemistry and your level of professionalism—so be open and respectful. (After all, they may soon be your castmate!)
A group of Thespians prepare for adjudication at ITF 2023. Photo by David Slaughter
Try not to be nervous: Receiving an invitation to a callback audition is a good sign! The director saw what they liked in your audition and wants to spend more time assessing you for a role (or multiple roles). While certainly not a guarantee you’ll be cast, a callback reflects you’ve passed the hardest part of the audition process: making a favorable impression on the casting director.
Stay true to yourself: Again, the casting director saw something they liked in your audition. Don’t suddenly present yourself differently from how you did then, and definitely don’t try to copy a famous actor’s performance of a role. (A casting director isn’t interested in your imitation of Hugh Jackman’s Harold Hill. They want your Harold Hill.)
Follow up: The production team will almost certainly confirm how they’ll inform you on their casting decisions. But if they don’t (or they haven’t contacted you in the time frame they originally announced), it’s appropriate to reach out for clarification. Just be sure to check all locations information may have been conveyed already, like a callboard or your spam folder!

What if I didn’t get a callback?

Don’t panic if you didn’t receive a callback. That doesn’t necessarily mean you won’t be cast—the director may simply feel they’ve seen enough of your performance and resume to make a casting decision. Or perhaps the callbacks are only for certain roles or ensembles rather than the full cast.

Once you’re through the callback process, learn how to prepare for a table read or handle not getting the part you wanted.

Andrew Koch is a writer and editor from Cincinnati.

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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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3 Ways to Get Your Back-to-School Theatre Goals on Track

Patty Craft — Tue, 24 Oct 2023 15:35:48 +0000

We’re well into the school year, and you’re way past prepping for back to school—you’re living the reality. Your days may seem beyond full; been there, done that. But all that business could leave you feeling like your back-to-school theatre goals have fallen by the wayside.

Luckily, there’s still plenty of time to get back on track. Here are three tips to help get organized and make time to do more theatre.

Tip 1: Learn to (Respectfully) Say No

It’s trite because it’s true: There are only so many hours in a day. While we want to spend plenty of time with our “want to” activities, like theatre, we’re often left with a lot of “have to” chores—it’s hard to enjoy anything when we’re over-committed.

We suggest you make time to talk with your theatre teacher or Thespian troupe director. Why? They want to see you succeed and have some fun doing it. Be brave enough to ask for help organizing (or reorganizing) your days so that you can balance your responsibilities with your passions.

Until you get the chance to have that important conversation with your teacher (and if no one has told you yet), it’s OK to say no.

How? Practice the pause. That is, every time you’re asked to volunteer for a cause, participate in a group project, or are invited to an event, learn to say, “Let me check my calendar and get back to you.” With a bit of time to consider the offer, ask yourself if saying yes supports your goals and passions.

It’s not too late to get your schedule under control, and honing the “just say no” skill will help you manage well in all aspects of your life.

Tip 2: Get Back to Basics

People who stand out in their chosen fields often possess a small amount of natural talent, but those who find lasting success developed discipline. They all know that practice makes progress and understand the proven value of preparation and repetition.

What that means for you: Right now is a great time to get back to basics.

With auditions in your future, you can regain a sense of control by revisiting what you’ve been taught from the very start. Audition coach Laura Enstall put together this easy-to-follow audition etiquette guide. “Act like you’re auditioning the minute you arrive,” she advises. “Maybe the stage manager is holding the door for you, or maybe you run into the choreographer in the hall. It’s important to be aware of your surroundings.”

Maybe you’re already cast in the first show of your school’s season and you have a table read coming up. Arrive well-prepared and you’ll help the entire process flow a bit more smoothly. Do you know that you should read the whole script ahead of time, and not just your parts? Plus, here’s a separate post if you’re the playwright running a table read.

Tip 3: Get Curious with a Purpose

To be the kind of actor who transforms into a character so authentic that the audience suspends disbelief, you must understand people.

And to meet a variety of people, you’re going to need to go where you don’t normally go; talk with people you may not normally talk with. Get to know people outside the theatre. Yes, the musicians, the STEM gang, the 4-H crew, the athletes, and whomever else you can interact with.

Talking with new acquaintances opens doors into worlds you’ve not explored. For example, be curious and ask the first chair trumpet player in the marching band how they honed their skills. Ask about their practice routines or performance-day rituals. Connect with students in the STEM program and listen to what motivates them to be part of those activities. Even find out how the kicker on the football team stays ready to play when they’re only on the field for a few opportunities in each game.

And when it comes to your theatre skills, now’s a great time to explore new parts of every production. Instead of auditioning for an acting role in the next production, join the tech crew and experience what goes on behind the scenes so the show can go on. You may even discover talents you haven’t tapped into yet.

Remember that it’s not too late to begin again. Schedule a meet-up with your theatre teacher. Return to the basics and practice, practice, practice. And light a fire under your curiosity so you can achieve all your theatre goals.

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

The post 3 Ways to Get Your Back-to-School Theatre Goals on Track appeared first on Dramatics Magazine Online.

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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5 Must-Know Musicals with Hispanic Heartbeats

Patty Craft — Mon, 09 Oct 2023 21:04:11 +0000

A willingness to remember the past, and the trailblazers who made a way for today’s Latinx artists to shine on stage, is at the core of this post celebrating National Hispanic Heritage Month (NHHM) in the U.S.

In 2023, Broadway got the party started early in September with the ¡Viva! Broadway concert. It was a showcase of current Latin excellence on Broadway. Some participants were asked: “Who is a Latin performer in the industry who inspires you?”

Today’s artists provide shoutouts to some of “the five you want to know” when it comes to musicals with Hispanic heartbeats.

1. West Side Story

Yani Marin, proud daughter of Cuban immigrant parents and an actress, dancer, singer, and producer from North Bergen, NJ, named living legend Rita Moreno her inspiration. Marin said, “I am inspired by Moreno’s phenomenal career, and I pray I can still be doing what I love when I’m her age.” Moreno is 91 years old at the time of this post and most recently served as an executive producer on the 2021 remake of the film West Side Story.

Moreno is a Puerto Rican actress, dancer, and singer who has performed on stage and screen in a career that spans seven decades. She starred in the 1961 film adaptation of the 1957 musical West Side Story. The story is an updated telling of Shakespeare’s Romeo and Juliet – star-crossed lovers struggling in modern-day New York City.

While West Side Story was (and is) a popular production, it’s vital to note that the 1961 film in which Moreno appeared is a source of controversy because it was written by non-Latinos: the music was written by Leonard Bernstein, and the lyrics were written by Stephen Sondheim. Brown face was used on many of the actors, including Natalie Wood, who played Maria. In fact, Moreno was the only Latina involved in the production! Still, it has an enduring place in the American musical theatre cannon and more recent productions (including the 2021 film adaptation) have striven to bring a higher level of authenticity to the material.

2. In the Heights

Jaime Lozano, musical theatre composer and self-proclaimed dreamer was asked to name a Latin performer who inspires him and named Lin-Manuel Miranda. Lozano said, “Lin-Manuel has been always an inspiration and a great supporter of what we [the Viva Broadway organizers] are doing.”

Miranda made his Broadway debut in 2008 with In the Heights, for which he wrote the music and lyrics, while also starring in the leading role. The story revolves around a street corner in the Dominican Washington Heights neighborhood of Upper Manhattan in New York City, where everyone pursues their sueñitos (little dreams) for a better life.

3. Hamilton

Miranda returned to Broadway in 2015 with Hamilton, another show for which he wrote the script, music, and lyrics (sung and rapped) while assuming the lead role. Hamilton earned the Pulitzer Prize for Drama and was nominated for a record 16 Tony Awards (winning 11).

If you’re a musical theatre lover, you’d have to have been under the proverbial rock not to know that Hamilton has become a pop-culture phenom. It’s the story of U.S. founding father Alexander Hamilton’s fight for honor and love, striving to leave a legacy that helped shape a nation.

4. Kiss of the Spider Woman

Thirty years ago, Kiss of the Spider Woman ran in the West End and on Broadway. The show won the 1993 Tony Award for Best Musical. The story is based on the Manuel Puig novel El Beso de la Mujer Araña.

The story is about two prisoners in one dank cell somewhere in Latin America: A Marxist guerilla named Valentín and a gay window dresser named Molina. As the story unfolds, they learn to understand their differences and respect one another.

A movie by the same name was made in 1985 starring William Hurt and Raúl Juliá. (Yes, you may be more familiar with Juliá in his role as Gomez in the 1990s movie versions of The Addams Family!) 

5. On Your Feet

To round out “the five you need to know” when it comes to Broadway musicals with Hispanic influence, check out the 2015 jukebox musical On Your Feet. It hit Broadway at the Marquis Theatre. The story showcased the pop-music hits of Gloria Estefan, her husband, Emilio Estefan, and their group Miami Sound Machine. Give the soundtrack a listen – the rhythm is gonna get you. (Sorry, not sorry.)

The History of National Hispanic Heritage Month

In the U.S., National Hispanic Heritage Month began as National Hispanic Heritage Week in 1968. Then in 1988, the celebrations were extended to a full month running from September 15 to October 15. We’ll let you explore on your own why the festivities straddle both September and October and learn what the Cry of Dolores refers to; a phrase you may hear associated with NHHM.

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

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ITO Sid Gunasekaran Talks Staging Success

Sponsor — Fri, 22 Sep 2023 17:35:48 +0000

Breaking Cultural Stigmatization and Redefining Career Paths in the Arts

As the warm sun descended beyond the horizon and the first chords of music filled the air, Staging Success reaffirmed its commitment to empowering aspiring artists. Through its most recent “Serenades & Sunsets” event, the nonprofit led by high school senior and 2023-24 International Thespian Officer (ITO) Sid Gunasekaran showcased an evening of artistry, inspiration, and scholarship awards. Here Sid shares how his efforts aim to break down societal barriers for young artists.

Q. What led you to create Staging Success?

Sid Gunasekaran: You know, I’ve had the privilege to dabble in different worlds—business ventures like Dallas Shoe Plug and, of course, the arts. Each experience was a stepping stone that led me to appreciate the transformative power of creativity. But I noticed that in minority communities, particularly in my South Asian culture, pursuing the arts is often stigmatized. There’s this emphasis on conventional career paths like engineering or medicine, which led me to recognize a void that needed filling. That’s how Staging Success was born.

Q. Can you elaborate on the stigmatization in your culture around the arts?

Sid Gunasekaran: Certainly. In many South Asian communities, the arts are often viewed as a “lesser” career or something that should be relegated to hobby status. People forget that the arts are not just about self-expression they’re also a pathway to countless opportunities. Take me, for instance; I’m a high school senior interested in business. But it’s my background in the arts that has given me the unique perspective and skill set to succeed in whatever endeavor I choose. I want Staging Success to break down these societal barriers and reshape how our culture perceives the arts.

Q. So how does “Serenades & Sunsets” play into this mission?

Sid Gunasekaran: “Serenades & Sunsets” was a multi-faceted event that served as a microcosm of what we aim to achieve. We had young artists from diverse backgrounds who were not just given a platform but were also provided with scholarships. The event itself was enveloped in a rich atmosphere that celebrated their talents, making it a transformative experience. The setting sun that evening symbolized the end of an era of narrow thinking about the arts and the rise of new opportunities.

Q. Can you tell us about the role of business in your endeavors?

Sid Gunasekaran: Business is not separate but rather integral to fulfilling our mission at Staging Success. My business experience has taught me strategy, structure, and most importantly, how to bring resources together. We are in the planning stages of launching four more events this year, serving to expand our reach, get more artists involved, and ultimately generate more resources for scholarships and mentoring programs.

Q. What would be your message to aspiring artists and skeptics within your culture?

Sid Gunasekaran: To the artists, I say, let your art speak for you. Prove the skeptics wrong and pave your own path. To the skeptics, it’s time to realize that art is not just a form of expression but also a form of empowerment. By limiting our views on what is ‘acceptable,’ we not only stifle creativity but also close doors to endless possibilities.

Te debut event collected voluntary donations, all of which are slated to benefit the Educational Theatre Foundation. A blend of advocacy and art, “Serenades and Sunsets” sets a precedent for Staging Success’ plans for the 2023-2024 season, which Sid promises will be equally impactful and ambitious.

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Theatre In Our Schools

Natalie Koking — Sun, 12 Mar 2023 23:51:20 +0000

Teaching theatre in our schools, it’s proven, is positively life-changing for students. The art form teaches vital 21st-century skills that we use on and off the stage, in the classroom, and in our everyday lives. The skills learned through performing arts strengthen communication, technical, interpersonal, and problem-solving skills—all while fostering joy, creativity, and connections.

The Educational Theatre Association (EdTA) advocates passionately for theatre education for all. We see firsthand how students’ lives change because of their involvement in theatre, and we know how much communities thrive when they engage with the stage. We’re spreading the message far and wide about #TheatreInOurSchools as a year-round movement … and we’re posting now because March has unofficially been when focus has been magnified on the movement. You’re invited to join the efforts!

WHAT IS THEATRE IN OUR SCHOOLS?

Theatre in Our Schools is a program that equips students, teachers, parents, and other advocates with tools to help decision makers understand the power of theatre education. The month of March is designated as a 30-day stretch of concentrated activities in schools and surrounding communities, with the media, and even with legislators focused on shining a light on the value of theatre education.

Even though we dedicate our communications and content to amplifying the Theatre in Our Schools message in March, we can advocate for its inclusion all year long.

HOW YOU CAN ADVOCATE

Photo credit David Slaughter Photography Network

Staying active on the socials (Facebook, Instagram, TikTok, YouTube) is a great way to keep the message alive about the benefits of theatre education. Pro tip: Know where your intended audiences hang out and reach them there. If you’re a student who’s applying to higher education, it’s also an easy and engaging way to showcase your theatrical skills and experiences. Learn more in our blog, Social Media as a Tool for Success.

Here are a few ways to join the conversation, digitally:
#1 Follow EdTA and International Thespian Society on Facebook and Instagram
#2 Use the hashtag #TheatreInOurSchools when posting relevant content on your channels
#3 Engage with Thespians and educators around the country who are using #TheatreInOurSchools (or the former hashtag #TIOS) by liking, commenting, following, and reposting content (because remember that social media is about being social)
#4 Send content to friends, family, and other followers to put the message on their radars.

When it comes to creating your own content, just think about how much theatre education is already present in your life. You likely attend classes, work on projects, perform in or work on productions, attend shows and events, read and watch industry news, and even follow the careers of your favorite theatre artists. Whatever you post, and however you post it, be sure it’s authentically and uniquely you (and remember to include the #TheatreInOurSchools hashtag).

Get Started with These Ideas for Advocacy

● Share behind-the-scenes photos and videos of rehearsals
● Post a blog about a meaningful theatre experience, an industry topic that fascinates you, or any other theatrically driven subject
● Show how theatre skills have supported your non-theatre activities
● Document your journey with learning a new theatrical skill, like sewing, lighting design, directing, vocal techniques, stage combat, etc.
● Post visuals of your experience in theatre classes, workshops, conferences, field trips, and other relevant activities
● Share memories about your journey or life in theatre
● Publish quotes from industry figures, historical players, lines from plays, or lyrics from musicals that inspire and encourage you

Keep in mind, there are some limitations when it comes to documenting material that’s protected by copyright. For example, you shouldn’t record a live performance for your personal channels, unless you have specific permission to do so. You can learn more about these important details in our blog, Copyright in Theatre.

STAY VOCAL AND VISIBLE

To achieve the goals of Theatre in Our Schools, we theatre artists and educators need to stick together as a community and advocate for ourselves and others. Use your social channels to provide resources, share insights, publish content that makes an impact, and stay vocal and visible about the power of theatre education.

Natalie Clare is a regular contributor to Dramatics.org. She is a freelance writer, arts and culture reporter, and content marketer who lives in Cincinnati. Visit her here.

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How to Win a Thespy

Suzanne Maguire — Mon, 09 May 2022 17:00:00 +0000

You want to enter the International Thespian Excellence Awards to (hopefully!) win a Thespy. We want to help you shine as you take your best shot.

Qualifying for the International Thespian Festival (ITF) is your first step. That is where you will have the chance to win a Thespy Award and perform in the Thespy Showcase at ITF. Sure, current pandemic processes make the effort a bit more challenging. But focusing on the power in the process, rather than perfection in the product, helps you grow as a theatre artist. There will always be challenges of one sort or another. So, here are a few tips to help you brush up on your audition skills.

Step 1. Choose your categories.
This is the most important step if you want to win a Thespy. Choose wisely because your choices will be your focus and should motivate you throughout the process.

This year students can submit in more than one category! If you are a techie who also belts out show tunes or are an actor who creates stunning hair and makeup designs, then you are in luck. Be realistic about your time constraints and explore all the categories your chapter event allows you to enter as you choose your categories.

Then, choose what excites and interests you. Perhaps you have started exploring new theatre disciplines during the pandemic. If so, choose a category that allows you to pursue that interest. When you do something that excites you, your passion will shine through your work.

Step 2. Choose your material.
Before you choose your category or materials, it is imperative that you understand the copyright, publishing, time limits, and other rules. Take time and review the Thespys Category Summary Guide. You may have a favorite song you would love to sing or a great monologue you have found online, but make sure your selection meets the requirements so that your submission will not be disqualified.

After reviewing the rules, consider CONNECTION. When you connect to material, your audience will connect to you. It is that simple. It could be the subject matter, a character’s story, or the vocal range of a song. No matter how you connect, trust your gut to know what is a good fit. But getting feedback from trusted advisors like teachers, mentors, and friends about what material they might recommend for you can help you chooses wisely, too. Others often see qualities in us that we do not, and their input can lead to finding pieces we would never consider.

Step 3. Rehearse.
There is no set amount of rehearsal time that works for everyone. You will do better to consider how you might effectively rehearse your material. Always read the entire script of whatever you are presenting. If you have not read the entire script, you may misinterpret critical character or plot elements. Short or one-act plays are great resources for scene/monologue material.

Before you begin memorizing a musical or acting piece, you should do character analysis and beat work with the material. Memorization naturally occurs as you explore the pacing, pauses, movement, and other elements of the piece. Running through your material multiple times helps solidify your acting choices as you refine the vocal and physical components. If you want to be prepared and confident, allow yourself time to memorize and refine.

Students who earn superior scores and have the opportunity to showcase their material at the state or national level always seek feedback from several sources. Find people who will provide you honest and helpful feedback. Workshopping your material in front of your teacher/peers/mentors can serve to fine-tune already strong moments and help you strengthen weaker ones. This can take a little longer and be more challenging if you are not able to work with people in person but presenting in some virtual way is still preferable to getting no feedback at all.

Step 4. Prep for filming.
Consider the following as you prepare to record your work: location, lighting, sound quality, and recording equipment. Do whatever you can to film against a neutral background. Just like wearing all-black clothing is required to help adjudicators focus on the acting, a neutral background puts the focus on you instead of your surroundings.

Lighting that comes from overhead creates shadows on your face and makes it hard to see your expressions, so a lamp or natural lighting in front of you contributes to a clearer video. If you can, use a separate device for audio playback to avoid distortion during filming.

NOTE: Adjudicators will be understanding because of the unique circumstances we are all dealing with due to the pandemic. Do your best and follow these suggestions wherever you can.

Step 5. Create your video.
Finding a filming partner would be ideal, but if you are filming alone, be prepared to adjust your camera set-up multiple times. Use a tripod, a stack of books, or other means to get your camera angled straight on versus pointing up at you. If the camera angle is from below you, the adjudicator view is altered and can negatively impact how they see your facial expressions and/or movements. If possible, try to film from the knees up so that your hands are seen in the frame. Record about 30 seconds of yourself to check your framing, sound, and lighting before you record your full submission. Consider the adjudicator’s point of view as you look at your video.

Step 6. Submit.
You are now ready to submit your video through the designated event platform. Remember, your video must be accessible to the adjudicators. If you share a link, be certain that all sharing permissions are turned on. If the adjudicators cannot access your video, your work cannot be adjudicated. Be sure to also check the deadline including the time zone.

Step 7. Use your feedback.
Trained adjudicators work to provide helpful comments to encourage and help you grow. This feedback is priceless! For many of you, this will not be the last time you perform your material. Use the feedback you get to continue your exploration and fine-tune for future presentations.

Remember that the power of this process does not stop when the event ends. Reflecting on all you have learned while preparing and submitting your work will serve you well in all your future endeavors. Good luck and go win a Thespy!

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