Facebook Instagram Tiktok Youtube
Donate

Blog

Why You Should Get Involved With Your Community Theater

The frightening shadow of college looms over every high school student that plans to expand their education. For theater kids, there is more than just a quick essay and an application to apply. Auditions for high school productions are terrifying, just imagine college auditions! Some students may be questioning whether their high school productions will actually cut it on their resumes. For some schools, sadly, it’s not. But what else can they do? Community theater.

There are a lot of differences between high school and community productions of shows. For one, it’s a whole lot more professional! That doesn’t sound very exciting. Why do a more professional show with some people you may not know versus a production with your friends? Friends are exactly the reason! When your buddies surround you, hi-jinks will occur. Whether you’re whispering about the choreographer tripping or trying to mess up your friend on her monologue by making faces, there will be distractions! The last thing you want while working is distractions! In community theater  if you cause too much distraction, you’re out! Yes, that means the annoying kid in the back won’t last long.

One of the biggest problems that currently go around in the high school theater is the issue of seniority. Yes, we all understand that the seniors don’t have much time left, so they get first pick. It’s not that big a deal. Unless, there is a sophomore who was better. If there is a better Olive Ovstrovsky than Sally the Senior, give the part to her! Seniority doesn’t exist in Community Theater  In a lot of companies, there isn’t an age limit. The part goes solely to those who deserve it. For example, all three high school productions I’ve been in, I’ve been stuck in ensemble roles (which are fun, too, but you can’t blame a girl for wanting a lead or secondary character every once in a while!). But the two community productions I’ve performed in so far, I’ve gotten my first roles, secondary and primary!

A lot of students in high school drama don’t end up perusing a performing arts career. But a lot of people who do community theater want to do theater for the rest of their lives! When these credits are put on a resume, you look a whole lot better! You will have roles that thicken up the credits portion of the resume, rather than having four credits of ensemble and an understudy job.

Yes, a lot of theaters require tuition to perform, have weird rehearsal times, and probably fewer rehearsals, but all of this is worth it for the good that it will bring you! If the money is an issue, there are nonprofit theaters in almost any town that does community theater. So, I encourage you: check out your local community theaters and get involved with your town’s arts scene! You won’t be sorry.

Photo via Spirit of Omaha

Theatre WILL Help You In Real-Life Situations

Never question the real life applicability of theatrical arts. Some people scorn theater and instead pick up (boring, so says I) hobbies like running or filing taxes because they think that these will help them more in real life, but fear not, young thespians! It’s time to learn about all the different ways theater will benefit you in all of your real life endeavors. Now that’s what I’m talkin’ about!

Problem: You’re being chased by a bear. You can’t run very fast in your character shoes. What ever should you do?
Solution: Strike a terrifying pose. Work those jazz hands. Belt a high E. The bear will be intimidated by your strong performance game and probably run away, ashamed that it’s not as fierce as you are.

Problem: You failed a test.
Solution: Turn up the theatrical charm! Sing a few bars of “Baby, I’m A Star” to reassure your teacher that you are indeed fabulous. Choreograph an impromptu interpretive dance about why you deserve a higher grade. Your teacher will realize that they were mistaken and you deserve the highest of marks due to your mad interpretive dancing skills.

Problem: The Zombie Apocalypse. It’s happening.
Solution: Find the nearest techie. Hug the nearest techie. Beg the nearest techie to use their magical techie makeup skills to make you look like a zombie. Put your straight acting skills to work and fit right in with the zombies around you. (Warning, Camp Broadway cannot be held accountable for any ramification that may occur during said zombie apocalypse, assuming this plan backfires…)

Problem: Your significant other dumped you.
Solution: Pull an Elle Woods and get into Harvard Law. Then, sing a stirring rendition from “There’s A Fine, Fine Line” from Avenue Q. This will undoubtedly make everything better.

Problem: North Korea is threatening to use their nuclear weapons.
Solution: Perform a one-man show for Kim Jong Un, highlighting your amazing theatrical talents. Include lots of tap dancing. Probably sing something from RENT, I hear it’s his favorite musical but I’m not really sure why. This will surely appease him and save the world.

Clearly, the talents that we acquire from theater will help us weasel our way out of the most difficult real life situations. The applicability of theater is endless! What sticky situations have your theatrical skills saved you from? Let us know in the comments!

West End vs. Broadway

We talk about Broadway all the time. I mean, it’s in our brand name! But, rarely do we discuss Broadway’s counterpart which lies just across the pond- London’s West End, or “Theatreland.”  I recently spent an extended amount of time in England, and I noticed a few differences in going to the theater along the way.  So, I thought it would be fun to compare and contrast some pretty random but noticeable variations between our two theatrical meccas, and perhaps offer some intel in case you’ll be finding yourself in London anytime soon. Cheers!

1) Sunday vs. Monday
It’s a pretty well-known fact that Broadway’s “weekend” is on Monday.  Except for a few shows which try to capitalize on the smaller market of competition, Monday tends to be Broadway’s “dark” day.  But, not in the West End! Instead, Monday begins their week which then concludes at the Saturday night performance.  For most shows, they get their day off on Sunday.  It may seem fairly unimportant, but I would have loved to know this fact before searching for tickets which didn’t exist…

2) Safety vs. Aesthetic
One aspect I always find interesting on Broadway is what the pre-show, intermission, and post-show look is on stage.  Some shows are simple, and keep the traditional red velour curtain as the frame for the evening.  On the other hand, some designers enjoy using this extra stage time for their set to add an extra statement to the production.  Maybe it’s a painted drop, or maybe there isn’t a curtain at all.  Regardless, your choices are more limited in London, where you only have the pre-show time to have this extra set piece.  Then, during intermissions (which they refer to as intervals), London theaters are required to bring down a “safety curtain” or “fire curtain”, which are often made of iron and are used in emergencies to separate the audience from any fire that might occur on stage. The curtains must be shown to prove they’re operational. It was certainly interesting as I watched Phantom‘s chandelier picked up at intermission and replaced with a large iron drop.

3) Stalls vs. Orchestra
One simple difference is between our theaters themselves.  Besides the difference in the shape of the houses, which is a whole other conversation, we also refer to the levels in the theaters differently. Our orchestra section is their stalls. Our mezzanine is their royal, grand, or dress circle. Our balcony is their upper circle, and their fourth level which we don’t tend to have is what they refer to as the balcony.  Huh.

4) Ice Cream vs. The Sippy Cup
This is my favorite. The least important, but still my favorite. You know those little plastic containers of controversy that have taken over the Broadway industry? The adult spill-resistant sippy cups? Well, many people would be thrilled to know that there wasn’t a sippy cup in sight over in the West End.  Instead, there was a different item for consumption that you won’t find in a Broadway theater: ice cream! Häagen-Dazs everywhere!  During every “interval,” the audience would get up and rush to the ice cream vendors.  Hmmm… theater and Ice Cream? I’m in.

5) Programme vs. Playbill
Finally, and perhaps most surprisingly, Playbills, or ‘programmes’, aren’t free in the West End.  If you want to know who’s who in the cast and crew, you must buy a programme usually for ₤3 or ₤4, which would be the equivalent of around $6 or so.  All I have to say is, “Thank God for Playbill!”

HONK! The Greatest Musical You’ve Never Heard Of

If I say, “HONK!”, you probably don’t think of a fantastic, Olivier-Award winning musical by the brilliant team of George Stiles and Anthony Drewe. Nope. You probably think of car horns, clown noses and geese. If you do think of geese, you’re certainly on the right track.

You see, HONK! is a distinctly British musical based on the Hans-Christian Anderson tale of “The Ugly Duckling.”  You know the story. A bunch of ducks are hatched one morning. One of the eggs is big, brown and ugly. The resulting duck is also quite big… brown.. and ugly. Everybody mocks him. He runs away. He has an adventure. His mother searches for him. In the end, he turns out to be a swan. He’s beautiful, and everyone rejoices. The end.

Although it may seem like a concept best suited for children’s theatre, HONK!, in the able hands of Stiles and Drewe (best known for their additional music in Mary Poppins) turns out to be a brilliant evening in the theatre for all ages.

In the case you have heard of HONK!, it’s probably due to the immense regional and community theater success it’s found in the United States. Music Theatre International even released a “Junior” version of the show, and it’s been a popular choice since the early 2000’s. Despite this, HONK!’s journey has been an interesting one to say the least.

The idea came to Anthony Drewe when he purchased an anthology of Hans-Christian Anderson tales, and realized that the story of “The Ugly Duckling” was, at its heart, a universal tale of acceptance and of being yourself. Before long, he and George Stiles “hatched the show” as a Christmas panto at the Watermill Theatre in 1993. By 1999, after some rewriting, a title change, and some new creative team members, legendary director Trevor Nunn shepherded the production into the West End. It became a giant hit, and went on to beat out both The Lion King and Mamma Mia! for that year’s Olivier Award for Best Musical.

Kind of a big deal, right? Broadway’s next, right?

Unfortunately for us, it wasn’t to be. Due to its extremely British sensibility, Stiles and Drewe thought it would be best to have some workshop productions in the U.S. before rushing into New York. A version was performed at the Helen Hayes Theatre in Nyack, and soon after a revised version went up at the North Shore Music Theatre in Massachusetts. The latter would go into licensing, and the rest is history.

The show has always been hard to market. I mean, who wants to pay to see a musical version of “The Ugly Duckling”? It doesn’t sound too spectacular, and it’s understandable why Broadway has yet to be a welcoming home for HONK!.

It’s really too bad, though. Why? Because HONK! is a ridiculously great show. That’s why. Today, we always hear such a clamoring for the grand old-fashioned musicals. Where is the romance? The hummable songs? The witty lyrics? The lovable featured comedic roles? Get this- the happy endings? Well, HONK! has it all. It’s a musical with everything you want from an evening in the theater  and more. Where else can you see an entire cast suddenly transform into a kickline of bullfrogs? Or a Tom-and-Jerry-esque chase sequence between the Ugly Duckling and a cat?

HONK! is one of a kind, and I hope that with it’s regional popularity, Broadway might just open its doors to the farmyard poultry in the near future. If nothing else, I hope this blog can serve as a small P.S.A., helping to continue to get the word out about this delightful piece of theater  It may be the greatest musical you’ve never heard of.

Photo via RedBankGreen

Learn a New Acting Method: Objective and Action

1375031_555365744536892_637332985_n“Objective and action” is a unique acting method that I learned this summer, and it revolutionized the way that I go about playing a character. It is based on observations of human behavior. More specifically, it takes into account the way that people act, and how it is more dynamic than how most people play characters. In real life, people have objectives, whether they are aware of them or not. These objectives drive both our behavior and emotions. For example, if I’m aiming to get a good grade on a quiz, my behavior will change in that I’ll study more, and my emotions will change based on whether or not I do well. This example applies to human reaction to all objectives. With this in mind, “Objective and action” involves the actor thinking about what their character wants, and using these motives as a way to portray the character’s emotions. Here are the steps I go through when analyzing a character:

1. What does your character want? Every character has some objective, though it may not be apparent at first. This is generally the most difficult step, since some objectives are sort of hidden. Many characters have many objectives. Decide whether these are “primary” or “secondary”; whether they are the character’s main goal or a peripheral issue. Determining their importance helps organize which to prioritize in your portrayal.

2. How are they going to get it? Your character’s actions should all be driven by their motives. Figure out how their choices relate back to their motives, and hit the actions that correlate strongly to the objective with more emphasis.

3. Understand the emotional response to these goals. If your character is getting what they want, they will be happy. If they are not achieving their objectives, they will most likely be upset about it. Think about how you react to achieving your goals, and likewise how you react to failure.

4. Play through your emotions. Now that you know how your character feels, use this to guide your portrayal, but do not predicate your entire character off of it. Sometimes, actors might play a certain emotion too strongly, as though it is the only thing their character feels. Thinking about real life, this isn’t very realistic- most of the time, you probably feel more than one single emotion. Keep this in mind when playing your character, and play through your emotions rather than solely playing them.

Voila! You now have a much more realistic and convincing way to play a character! Though this process can be tough and a little time consuming, it is so rewarding, as it helps to portray a much more dynamic character.

What are some of your favorite tricks for convincingly playing characters? Let us know in the comments!

BC/EFA Bucket Brigade

If you’ve been to a Broadway, off-Broadway, or touring production lately, you’ve probably heard the speech at curtain call asking for donations to Broadway Cares/Equity Fights AIDS. Shows offer unique items, anything from autographed Playbills and posters all the way to photos on stage with the cast. More common are the red buckets that beckon you as you leave the theater  Sometimes cast members will hold these buckets, thanking the audience for their time and contributions. The people that hold these buckets but are not listed in your Playbill are volunteers: they are the bucket brigade.

Last year, I was lucky enough to be a part of the brigade after an evening performance of The Best Man. I had seen a tweet from the official BC/EFA Twitter account asking for volunteers a few weeks prior. I responded because I had easy access to New York City and it sounded like a unique experience. I was put on the the bucket brigade mailing list and received weekly emails with surveys asking for my availability. As a volunteer, you aren’t allowed to request  specific shows to assist, but you are able to request days, times, and the number of shows you are able to help in a week. I was finally open for a date/time and was sent my mission — be at the at Gerald Schoenfeld Theatre at 9:25PM.

I arrived at my destination to meet with three other members of the brigade, many who were able to volunteer every night at various shows. One went into the stage door to find a pile of red buckets for us to use, as instructed. As the thunder of applause filled the air, we positioned ourselves between each doorway as to get full coverage yet allowing the audience to leave the theater. Once the doors opened, people poured toward us, and surprised us with their generosity.

When I see a show and donations are solicited, I usually put a dollar or two into the bucket, unless I’m spending more for an item. I had many audience members putting in singles, but also fives, tens, twenties and even one hundred dollar bills. I was so amazed by the giving hearts of these theatergoers. Just think, you possibly spent well over one hundred dollars for a ticket to the show and now you’re giving another hundred dollars to charity. The bucket continued to fill up, as did the ones for the other volunteers. By the end, all buckets were overflowing. I would say I had at least two thousand dollars in my one bucket, multiplied by four, that’s eight thousand dollars in the matter of minutes. That was just one night of collecting — shows collect for six weeks twice a year, and this fundraising is in addition to the other charity events that happen throughout the year. The experience gave me such faith in the human heart and I would definitely love to be a part of the bucket brigade again in the future.

Want to volunteer with the bucket brigade? Keep an eye on the BC/EFA Twitter account in the fall and late winter when collections begin , or tweet them your interest in helping out!

Photo via Stage Door Dish

Spring Awakening Seven-Year Reunion

Recently, rumors have been floating around Twitter and Tumblr about some big Spring Awakening-related news to be revealed. One common rumor speculates that this could be the announcement of a Spring Awakening movie, an idea that has garnered mixed reactions. While some people are thrilled at the idea of a film adaptation, others are hesitant about the prospect of the show in film form. Unfortunately for the proponents (and thankfully for the skeptics), today’s big news is not about a Spring Awakening movie, but rather of some special plans for the show’s seven year anniversary.

Recently, I got to chat with original cast member Brian Charles Johnson after he appeared in a movie at my local film festival. He alluded to plans for an anniversary get-together, but was not specific. The one detail he could reveal was that it would involve a talkback.

Earlier today, the Atlantic Theatre Company published this video, revealing two pieces of exciting news. First, that their theater  home to the first workshop productions of Spring Awakening, was being remodeled and would soon open again. Second, that on December 10th, “some cast members”, though it didn’t specify who (but we can speculate that BCJ will be one of them) will host a live video Q&A session to celebrate the show’s anniversary.

Furthermore, Spring Awakening Love, a fan-run blog that sources information on anything related to the show, noted that “we will be getting more news at 5:30 EST later today”. Though we cannot yet vouch for the nature of this news, it is likely related to the upcoming cast reunion!

We’ll make sure to report back as more information becomes available!

Photo via The New York Times

Stage Manager: A Day in the Life

Previously I wrote a blog giving a rundown on how to be a stage manager, but this time I thought I would show you. I recently was the stage manager for my university’s production of the play Third and Oak: The Laundromat by Marsha Norman. Here is a look at opening night and what it is like to run a college show as a stage manager.

5:30pm Time I get to the theater building and down to the Cave theater.  Also plenty of time to run across the street and get some coffee before the crew gets here. But first, I have to unlock the theater  including the prop box, sound cabinet, and lighting cabinet. Then I turn on the house lights and unlock the dressing room.

6:00pm (Crew Called) We start by sweeping the stage and setting up the stage. Since our show takes place in a laundromat, this includes the added luxury of pushing two washers and dryers onstage every night (they are not light). Then the crew sets up the light and sound boards while I get the dressing room set up and props/costumes laid out before the actors get here.

IMG_4890

6:15pm (Actors Called) After they arrive, I check the Callboard to make sure everyone is signed in. Also with the sign in sheet, the callboard contains all the information the actors/crew might need to know for the show that day (Daily Call, Production Calendar, etc.).

IMG_4938 (1)

6:30pm (Light/Sound Check) This is when the crew and I go through each and every sound and light cue to make sure everything is ready for the show. This includes checking volume levels, speakers, and seeing if the boards are working like they should. Finding out a light is broken or a sound cue won’t play is definitely something we want to do before the curtain goes up.

6:40pm (Fight Call) Fight call is when the stage manager runs through anything physical in the show, not necessarily just fights. For example, the actress that plays Deedee in our show walks in at the beginning backwards and slips and falls on the “wet floor.” We have to run this before the show each night not only for rehearsal’s sake, but to make sure she is doing it safely to prevent injury.

IMG_4934 (1)

7:00pm (House Opens) Time for me to make my final rounds around the stage and house to make sure everything is in place and ready. Then I let the house manager know we are ready to open and I go backstage, where the crew starts the pre-show music and goes to the first light cue for house lights. The next half an hour I give the actresses a call every 10 minutes up until show time.

IMG_4889

7:30pm (Show Begins) Once I get the OK from the house manager, I call the actors to places (in this show this is important since the actresses enter from the back of the theater). After they are in place, I go backstage and the show begins! It’s important for me to not only be on book and following cues, but also to be listening closely to everything going on on stage. Anything can happen in the world of theater and a stage manager has to be prepared. That’s why they call it “live.”

IMG_4888

8:30pm (ish) Show is over! Time to put away the set, props, and costumes back in their rightful place. We also have to check everything back in on the prop list and lock them up in the box. Then, the crew rolls up the cords and places all the sound/lighting equipment back in the cabinets for me to lock up. After final announcements/notes, it’s time to dismiss the crew. I’m the first one to arrive and also the last one to leave the theater every performance. I lock up the greenroom, then do one final check before turning on the ghost light and locking up for the night.

This show was such a joy to work on and I wish we could have run for more than seven performances! It went by so fast! One of the most important things to remember is to build relationships and enjoy your work as a stage manager. I feel like I did a job well done when the cast and crew love coming into work every day and have a smile on their face. You have to find the balance between being a leader and being a friend, but once you find that place the admiration and appreciation you receive back is worth the time and effort you put in a show.

Improv: The Complete Rundown

Improvisational theater, or “improv” as it’s called for short, is a style of theater in which actors create a scene, characters, and given circumstances on the spot. Made famous by troupes like Second City and Upright Citizens Brigade, improv is often humorous and witty. In the wake of the TV show Whose Line is it Anyway?, improv has become increasingly popular. So you want to learn about the art? Here’s some basic improv FAQs to get you started.

Where can I see a professional improv troupe perform?
One of the most famous improv troupes is The Second City, which is located in Chicago but has branches and traveling performances nationwide. There are also local improv troupes and performance venues in many major cities. Many of these venues, such as Comedy Works in my hometown of Denver, are home to performances including aspects of both improv and stand-up comedy. Some high schools and colleges also have improv troupes- check out performance dates for those in your area. Finally, if splurging on tickets to see a professional troupe isn’t realistic for you, there are always television shows like Whose Line is it Anyway that can deliver a funny improv performance right to your home.

How can I improve my improv skills?
While some people are naturally quick-thinking and funny, everyone has potential to become great at improv. The one key to this is practice: the more you perform, the faster and funnier you will become. Play improv games with your friends, get involved with your local theater company, or just practice coming up with humorous quips on the spot. Improv is one situation in which practice definitely makes perfect.

What are some improv games I can play?
There is a wide variety of improv games that are simple to play- all you need is a few people and some creativity. One of the simplest, made famous by Whose Line, is called “Scenes From a Hat.” In this game, a category is suggested such as “Bad Superheroes” or “What Grandparents Do On The Internet” and performers take turns stating funny one-liners that fall under the theme. Another simple game is called “Hitchhiker.” Four chairs are arranged in a 2×2 square. People sit in three of them, and an additional person becomes the “hitchhiker” who must enter the car and perform with a specific personality quirk. For example, the hitchhiker might have a very proper British accent, or he might have a terrible cold. Everyone else in the car must then take on this characteristic, until one person finds an excuse to leave and everyone rotates. The person who has just left becomes the new hitchhiker. These are just two of the games you can play- a quick Google search will surely produce more ideas.

What are the different types of improv?
There are two main types of improv: longform and shortform. Shortform improv consists of quicker scenes with less character development, typical to the games mentioned above. Longform is more complex- it usually revolves around scene creation where each actor creates and must stick with a specific character. One of the hardest parts of longform is knowing when to end the scene, being aware of when it seems to wind down. Longform also often starts with an information generation game, where the players come up with ideas to work into their characters later in the scene.

These are just a few of the things to know if you’re interested in learning more about improv or even trying improv out yourself. As an actor, it’s an invaluable skill to have, but any improv-lover can attest to the real-life applications this art form can bring you too!