So, I've been pretty quiet here lately. Oops! I've been working more, and teaching theater to summer camp kids (which, though the teaching part is only 1.5 hours per week, involves a lot of preparation...between the prep work and the effort to keep the class from complete chaos I have developed a very deep respect for Real Teachers).
Also, I had a short but sweet prolific writing period last month, when I wrote three short stories: one of fairly average story length, one flash fiction, and one super short flash fiction for a contest, which I just found out I won. So that was neat.
Showing posts with label theater. Show all posts
Showing posts with label theater. Show all posts
Thursday, June 14, 2012
Sunday, February 12, 2012
In praise of college theater
I saw three plays this past week, which might be a record for me. First was Pride and Prejudice at LSU, then Eiffel Tower Revisited, also at LSU, then Anton in Show Business at Loyola (which David and I dragged ourselves to NOLA in frigid weather despite having irritating colds to see - and it was totally worth it!).
Since all of these plays were on college campuses, with casts comprised mostly, or totally, of students, I've been thinking about some aspects of college theater that I think are pretty cool - despite the occasional presence of what David calls "studenty acting."
1. Cross-gender and generally non-traditional casting. It's so much more fun (and educational) for an actor to play characters different outside of their own age and gender. In college, you get a chance to do this. Thankfully, new plays are beginning to reflect the reality that there are lots of women and people of color in theater (and, um, in the world), but so many of the "classics" offer few female parts. Solution: let the women play male parts. They can do it - they're actors. Also, give the audience some credit. Their brains are capable of processing, say, a 20 year old playing another 20 year old's mother, or siblings of different races. I promise.
2. Experimentation. Sure, sometimes it goes horribly wrong, but it's still better than recycling the same tired shows over and over. Colleges can afford to experiment, because they're not beholden to certain demographics of season ticket holders like a lot of professional theaters can be. In fact, they can put on just about anything they like, and have an instant audience of students who are required to see the show because they're taking a theater course. Ha.
3. Budget. Okay, I know theater departments never have enough money. They're underfunded, etc. But they still have lots more money than a lot of community theaters and small theater companies. That means you get great sound and light boards to fiddle around with, and good costumes and sets. You also don't have to scramble for backstage crew, because that's yet another thing you can require of students taking a theater course! Ha. Ha.
4. Energy. There's nothing like excited, eager, not-yet-jaded college students to breathe some life into a show. I love working with college students because they love to work! In fact, they're often so happy to be cast in a show that they (gasp!) show up for rehearsal! And sometimes they even (gasp!) learn their lines well before dress rehearsal! And there are moments, from the audience, when you can feel this excitement, this pure joy of discovery, crackling like electricity through the air. It's hard to be a cynical old theater person when that happens.
Since all of these plays were on college campuses, with casts comprised mostly, or totally, of students, I've been thinking about some aspects of college theater that I think are pretty cool - despite the occasional presence of what David calls "studenty acting."
1. Cross-gender and generally non-traditional casting. It's so much more fun (and educational) for an actor to play characters different outside of their own age and gender. In college, you get a chance to do this. Thankfully, new plays are beginning to reflect the reality that there are lots of women and people of color in theater (and, um, in the world), but so many of the "classics" offer few female parts. Solution: let the women play male parts. They can do it - they're actors. Also, give the audience some credit. Their brains are capable of processing, say, a 20 year old playing another 20 year old's mother, or siblings of different races. I promise.
2. Experimentation. Sure, sometimes it goes horribly wrong, but it's still better than recycling the same tired shows over and over. Colleges can afford to experiment, because they're not beholden to certain demographics of season ticket holders like a lot of professional theaters can be. In fact, they can put on just about anything they like, and have an instant audience of students who are required to see the show because they're taking a theater course. Ha.
3. Budget. Okay, I know theater departments never have enough money. They're underfunded, etc. But they still have lots more money than a lot of community theaters and small theater companies. That means you get great sound and light boards to fiddle around with, and good costumes and sets. You also don't have to scramble for backstage crew, because that's yet another thing you can require of students taking a theater course! Ha. Ha.
4. Energy. There's nothing like excited, eager, not-yet-jaded college students to breathe some life into a show. I love working with college students because they love to work! In fact, they're often so happy to be cast in a show that they (gasp!) show up for rehearsal! And sometimes they even (gasp!) learn their lines well before dress rehearsal! And there are moments, from the audience, when you can feel this excitement, this pure joy of discovery, crackling like electricity through the air. It's hard to be a cynical old theater person when that happens.
Sunday, February 5, 2012
Pride & Prejudice and loving my view from the audience
Well, it's Super Bowl Sunday, and you know what that means...a stage version of Jane Austen's Pride And Prejudice! The theater was packed, so I guess there is hope for humanity ;)
I enjoyed the show. At first it seemed rather fast-paced and rushed, because the way it was adapted for the stage called for very quick transitions between scenes. Night became day, weeks passed by in an instant while stagehands dressed as maids whisked chairs on and off without so much as a break to dim the lights. But I soon realized that this was probably necessary to fit all of the important plot points of the novel into the play. It still ran nearly three hours, as my Mom (who attended with me) and I were shocked to discover once it was over. Mom was sad that her favorite line "I cannot abide a mountain" was not included in the adaptation.
Overall, I think this was a wonderful achievement for Swine Palace over at LSU. The casting was so well done that I instantly knew which actor was playing the principal roles before any of them spoke.
I recognized several actors from the play David and I saw at Swine Palace last spring, The Metal Children. I was also very excited to recognize two actors from shows I'd seen in New Orleans, at Southern Rep and Tulane Shakespeare. One of these actors was playing Mr. Darcy, and I'd seen him in King Lear (as Edgar) and Macbeth (in the title role). I'm annoyed with myself for leaving my program behind in my mom's car, because now for the life of me I can't remember the man's name. He has blown me away in everything I've seen him do. I will even say that he gave Colin Firth a run for his money as Mr. Darcy, and I love me some Colin Firth. Anyone reading this who can identify this brilliant actor, please comment.
The only negative aspect of this show for me was the large physical reactions and expressions that the actors often displayed. I think one of the joys of Jane Austen's work is that the characters must restrain their emotions and behave in a manner appropriate for society, but their true feelings come through in their witty words. Their was some scoffing and shrugging and eye-rolling going on that I thought was not necessary, and took away from the power of Austen's dialogue. Since this was happening across the board, I think it must have been a directorial choice. Sadly, one of the major offenders here was the actress playing Lizzy Bennett. I could tell she was a talented actor, but I didn't get Lizzy's sharp yet subtle wit from her performance. Her Lizzy seemed less confident than I imagine the character to be. Again, she was clearly talented, but I was disappointed in the choices taken.
I was thinking today about how much theater I've seen in the past couple of years. My pregnancy, and now baby care, prevented me from participating as much as I'd done before, and as a result I'm more often an audience member. I was surprised to discover that I love it. When I was younger, I couldn't see a show without wishing I was in it (unless I hated it). My desire to be involved eclipsed my enjoyment as an observer. That is no longer the case. Now I find myself loving the chance to get lost in the story as only an audience member can.
This is not to say that I don't miss participating - I do. But in the meantime, I enjoy this phase of my life, where I can sit back and watch and soak it all in.
I enjoyed the show. At first it seemed rather fast-paced and rushed, because the way it was adapted for the stage called for very quick transitions between scenes. Night became day, weeks passed by in an instant while stagehands dressed as maids whisked chairs on and off without so much as a break to dim the lights. But I soon realized that this was probably necessary to fit all of the important plot points of the novel into the play. It still ran nearly three hours, as my Mom (who attended with me) and I were shocked to discover once it was over. Mom was sad that her favorite line "I cannot abide a mountain" was not included in the adaptation.
Overall, I think this was a wonderful achievement for Swine Palace over at LSU. The casting was so well done that I instantly knew which actor was playing the principal roles before any of them spoke.
I recognized several actors from the play David and I saw at Swine Palace last spring, The Metal Children. I was also very excited to recognize two actors from shows I'd seen in New Orleans, at Southern Rep and Tulane Shakespeare. One of these actors was playing Mr. Darcy, and I'd seen him in King Lear (as Edgar) and Macbeth (in the title role). I'm annoyed with myself for leaving my program behind in my mom's car, because now for the life of me I can't remember the man's name. He has blown me away in everything I've seen him do. I will even say that he gave Colin Firth a run for his money as Mr. Darcy, and I love me some Colin Firth. Anyone reading this who can identify this brilliant actor, please comment.
The only negative aspect of this show for me was the large physical reactions and expressions that the actors often displayed. I think one of the joys of Jane Austen's work is that the characters must restrain their emotions and behave in a manner appropriate for society, but their true feelings come through in their witty words. Their was some scoffing and shrugging and eye-rolling going on that I thought was not necessary, and took away from the power of Austen's dialogue. Since this was happening across the board, I think it must have been a directorial choice. Sadly, one of the major offenders here was the actress playing Lizzy Bennett. I could tell she was a talented actor, but I didn't get Lizzy's sharp yet subtle wit from her performance. Her Lizzy seemed less confident than I imagine the character to be. Again, she was clearly talented, but I was disappointed in the choices taken.
I was thinking today about how much theater I've seen in the past couple of years. My pregnancy, and now baby care, prevented me from participating as much as I'd done before, and as a result I'm more often an audience member. I was surprised to discover that I love it. When I was younger, I couldn't see a show without wishing I was in it (unless I hated it). My desire to be involved eclipsed my enjoyment as an observer. That is no longer the case. Now I find myself loving the chance to get lost in the story as only an audience member can.
This is not to say that I don't miss participating - I do. But in the meantime, I enjoy this phase of my life, where I can sit back and watch and soak it all in.
Friday, January 20, 2012
Parenting and happiness (or lack thereof)
This is a very interesting article in NY Mag about whether kids make one happier or not, and I like this analysis of the article on the Golden Notebooks blog as well. As the article mentions, I sometimes worry that I'm not spending enough "quality time" with Anton. Because, these days, he spends a lot of time either in his ridiculously festooned "activity center" or his Jolly Jumper. He seems to enjoy them, but I feel guilty sometimes for not coming up with bonding/educational activities all day long. Yet, he seems content, stopping every few minutes to look up at me and grin.
Does he make me happier? That's a complicated question. I've heard people say that if you don't have kids, you'll never know how much you could love someone. I think that's true. My love for Anton is a different kind of love than I've ever experienced. But it's also scary sometimes, to love someone so tiny and vulnerable. It causes me a lot of worry.
I certainly have moments of joy with him - many of them, every day. I like taking walks with him, giving him baths, snuggling in the morning, etc. In this way, ours is one of the most rewarding relationships I've ever had. But I don't so much like trying to figure out why he's fussy, trying to get him to sleep, and having him cry while I'm attempting to cook dinner.
But then, isn't that always the way, with someone or something you love? I think about my relationship to theater. There were certainly times when I was so busy and stressed and disappointed in others' behavior, and disappointed in my own results that it seemed absurd that this was something I was choosing to do, for very little (or no) money. Yet, I adore theater. I miss it, when I'm not involved. I would never quit theater for good.
I think the article's focus on the importance of useful, productive activity is a good point. I disagree with the idea that children's lives should be all play and fun. I like the idea of working on something with Anton someday, like a theater project...teaching him "the trade" and all that. His father feels the same way about getting him interested in science, I think.
And, interestingly, having Anton gives me more moments of feeling accomplished, simply because doing anything while caring for a baby feels like an achievement. So when I manage to write a revised chapter for my novel, cook a fabulous dinner, complete a workout DVD, etc., I feel pretty damn good about myself. In less busy times of my life, I often wasted all day online or whatever and didn't get anything of substance done, and that made me depressed. Having too much free time can be dangerous. Knowing you only have an hour or so before the baby wakes from a nap can be an excellent motivator.
So, am I happier overall? I know I'm happy not to be pregnant anymore. I know I'm happy to be married. And, while I don't always feel that I "have it all" (who does?), I know that I can't even imagine my life without Anton, now that he's here.
Does he make me happier? That's a complicated question. I've heard people say that if you don't have kids, you'll never know how much you could love someone. I think that's true. My love for Anton is a different kind of love than I've ever experienced. But it's also scary sometimes, to love someone so tiny and vulnerable. It causes me a lot of worry.
I certainly have moments of joy with him - many of them, every day. I like taking walks with him, giving him baths, snuggling in the morning, etc. In this way, ours is one of the most rewarding relationships I've ever had. But I don't so much like trying to figure out why he's fussy, trying to get him to sleep, and having him cry while I'm attempting to cook dinner.
But then, isn't that always the way, with someone or something you love? I think about my relationship to theater. There were certainly times when I was so busy and stressed and disappointed in others' behavior, and disappointed in my own results that it seemed absurd that this was something I was choosing to do, for very little (or no) money. Yet, I adore theater. I miss it, when I'm not involved. I would never quit theater for good.
I think the article's focus on the importance of useful, productive activity is a good point. I disagree with the idea that children's lives should be all play and fun. I like the idea of working on something with Anton someday, like a theater project...teaching him "the trade" and all that. His father feels the same way about getting him interested in science, I think.
And, interestingly, having Anton gives me more moments of feeling accomplished, simply because doing anything while caring for a baby feels like an achievement. So when I manage to write a revised chapter for my novel, cook a fabulous dinner, complete a workout DVD, etc., I feel pretty damn good about myself. In less busy times of my life, I often wasted all day online or whatever and didn't get anything of substance done, and that made me depressed. Having too much free time can be dangerous. Knowing you only have an hour or so before the baby wakes from a nap can be an excellent motivator.
So, am I happier overall? I know I'm happy not to be pregnant anymore. I know I'm happy to be married. And, while I don't always feel that I "have it all" (who does?), I know that I can't even imagine my life without Anton, now that he's here.
Sunday, January 8, 2012
That thin line between dream and reality
So, the dream I had last night was a pretty good dreamworld interpretation of my life right now.
I was at a party hosted by my Aunt and Uncle (who live in Massachusetts, I have no clue where we were supposed to be though, because it was this building with endless hallways and rooms that I've never seen before). There was lots of food, but I couldn't find anything vegan. Various relatives took turns holding Anton while I searched for something I could eat. My sister told me there were several huge pizzas in one room, but of course they all had cheese on them.
I would see something that looked vegan, only to find it wasn't once I put it on my plate. For example, what I thought was a plain salad turned out to be a Caesar salad, and cut up fruit turned out to have cottage cheese on it.
Then, somehow, there was an NTI reunion going on in the same building. We were divided into groups, and given a scene to work on and present. My group's scene was from Shakespeare's Coriolanus. The group decided I should play the title character. But then I realized I hadn't seen Anton in what seemed like hours. I searched all through the building, running into various relatives, and none of them could remember when they'd last seen him, or who had been holding him.
So I ended up full of anxiety, wanting to find him but knowing my group was waiting for me to rehearse our scene. I was also worried that if I didn't nurse him soon I would leak onto my shirt and therefore fail to portray a male character convincingly (ha!).
I began to wake up, and realize that Anton was sleeping next to me. I was torn between relief that he wasn't lost and sadness that I had to leave the dream world before I got to act in the scene from Coriolanus.
I was at a party hosted by my Aunt and Uncle (who live in Massachusetts, I have no clue where we were supposed to be though, because it was this building with endless hallways and rooms that I've never seen before). There was lots of food, but I couldn't find anything vegan. Various relatives took turns holding Anton while I searched for something I could eat. My sister told me there were several huge pizzas in one room, but of course they all had cheese on them.
I would see something that looked vegan, only to find it wasn't once I put it on my plate. For example, what I thought was a plain salad turned out to be a Caesar salad, and cut up fruit turned out to have cottage cheese on it.
Then, somehow, there was an NTI reunion going on in the same building. We were divided into groups, and given a scene to work on and present. My group's scene was from Shakespeare's Coriolanus. The group decided I should play the title character. But then I realized I hadn't seen Anton in what seemed like hours. I searched all through the building, running into various relatives, and none of them could remember when they'd last seen him, or who had been holding him.
So I ended up full of anxiety, wanting to find him but knowing my group was waiting for me to rehearse our scene. I was also worried that if I didn't nurse him soon I would leak onto my shirt and therefore fail to portray a male character convincingly (ha!).
I began to wake up, and realize that Anton was sleeping next to me. I was torn between relief that he wasn't lost and sadness that I had to leave the dream world before I got to act in the scene from Coriolanus.
Thursday, November 10, 2011
DIY and chipping in
I've noticed something lately among some artists I know, which I find a bit disappointing. It's a focus on money and compensation that I don't remember seeing so much of in the past. I hear statements like, "I'm not doing anything for free" and see some Kickstarter pages that make me raise an eyebrow.
Now. Put down the pitchfork and hear me out. I do think art is valuable. I don't think being an artist should mean living a life of poverty. But I also think that 1) financial challenges can actually lead to innovation in art, and 2) community and volunteering are central to the arts and I don't want to see them disappear.
I will restrain myself from gushing about my days at NTI (almost a decade ago...yikes!) because that could go on forever and would only end in me saying ridiculous things like "free your pelvis!" while sobbing with nostalgia, and who wants to see that? But one thing I really liked about the program was that we were given very little (basically nothing, really) for the scenes we directed and for our final project. If you needed something, you made it, or you found it by asking "Who's got a newspaper?" "Do any of you guys have a striped tie?" And if someone had it, they let you borrow it for your scene. You did not go around asking your friends for money so you could go prop shopping.
I adore low-budget, passion-driven theater. I'm more intrigued by a site-specific piece using found objects than some high-budget musical any day. Personal preference, yes. But I value experimentation, and lack of funds and experimentation are a match made in heaven.
I think Kickstarter is a great website, and I have donated to several projects that sounded really cool and truly could not have happened without funding. I'm not trying to say no one should ever ask for money. But I see some projects that seem to me to be more about laziness and lack of imagination than a true need. If you can't get off your butt and make art without someone giving you money first, then I think there might be an issue there.
Which brings me to the second point I mentioned above. Maybe it's because I'm getting older, but I seem to be seeing less of the "let's get together and do this thing for the fun of it/because we feel it should be done" attitude that I love about the artistic community. Listen, if some big corporation, or your millionaire friend, asks you to make some art for them, by all means ask them for some money. If your fellow struggling artist friend asks if you want in on her non-paying project but you simply don't have the time because you have to work so hard at your day job, by all means tell her so. [Actually, I'm of the opinion that having a day job can be very beneficial to one's art, but that's a topic for another day] But if your across-the-board attitude is, "I'm not doing anything for free," then I have to wonder why you're an artist. I don't think your fellow struggling artist friends are trying to screw you over by asking if you want in on a project they can't pay you for. If you think they are...find some new friends.
Skill-sharing doesn't always have to be "consulting" for a fee. Your time is well spent when you're being inspired with your friends. Who helped you grow as an artist...only people you paid? I doubt it!
Do what you can do, help when you can help, and see it as an opportunity to learn and grow. If you can't afford to do something, that's cool. Make money when you can and enjoy it - you worked for it! But why look at everything with dollar signs in your eyes? Our scrappiness and generosity have served us well as artists, and we shouldn't be so quick to part with them.
Now. Put down the pitchfork and hear me out. I do think art is valuable. I don't think being an artist should mean living a life of poverty. But I also think that 1) financial challenges can actually lead to innovation in art, and 2) community and volunteering are central to the arts and I don't want to see them disappear.
I will restrain myself from gushing about my days at NTI (almost a decade ago...yikes!) because that could go on forever and would only end in me saying ridiculous things like "free your pelvis!" while sobbing with nostalgia, and who wants to see that? But one thing I really liked about the program was that we were given very little (basically nothing, really) for the scenes we directed and for our final project. If you needed something, you made it, or you found it by asking "Who's got a newspaper?" "Do any of you guys have a striped tie?" And if someone had it, they let you borrow it for your scene. You did not go around asking your friends for money so you could go prop shopping.
I adore low-budget, passion-driven theater. I'm more intrigued by a site-specific piece using found objects than some high-budget musical any day. Personal preference, yes. But I value experimentation, and lack of funds and experimentation are a match made in heaven.
I think Kickstarter is a great website, and I have donated to several projects that sounded really cool and truly could not have happened without funding. I'm not trying to say no one should ever ask for money. But I see some projects that seem to me to be more about laziness and lack of imagination than a true need. If you can't get off your butt and make art without someone giving you money first, then I think there might be an issue there.
Which brings me to the second point I mentioned above. Maybe it's because I'm getting older, but I seem to be seeing less of the "let's get together and do this thing for the fun of it/because we feel it should be done" attitude that I love about the artistic community. Listen, if some big corporation, or your millionaire friend, asks you to make some art for them, by all means ask them for some money. If your fellow struggling artist friend asks if you want in on her non-paying project but you simply don't have the time because you have to work so hard at your day job, by all means tell her so. [Actually, I'm of the opinion that having a day job can be very beneficial to one's art, but that's a topic for another day] But if your across-the-board attitude is, "I'm not doing anything for free," then I have to wonder why you're an artist. I don't think your fellow struggling artist friends are trying to screw you over by asking if you want in on a project they can't pay you for. If you think they are...find some new friends.
Skill-sharing doesn't always have to be "consulting" for a fee. Your time is well spent when you're being inspired with your friends. Who helped you grow as an artist...only people you paid? I doubt it!
Do what you can do, help when you can help, and see it as an opportunity to learn and grow. If you can't afford to do something, that's cool. Make money when you can and enjoy it - you worked for it! But why look at everything with dollar signs in your eyes? Our scrappiness and generosity have served us well as artists, and we shouldn't be so quick to part with them.
Monday, November 7, 2011
The dust has settled.
I gave a massage yesterday for the first time in months. I'm going back to work soon (on a very part-time basis) and I was worried that I'd forgotten my basic routine and/or lost my touch. It's incredible what the body remembers - I couldn't think my way through my massage, but most of the time my hands and arms seemed to remember what to do. I set up the front room of our house as a guest room/massage room, and found it to be a great space to work in. Lit a candle, put on some music, and did my thing.
It helped that the client was my mom :)
Anton is a relatively happy baby, and is quite content to be my companion when I go to the grocery store or the Farmer's Market, or out for walks. And when we're home, he loves to play in his baby gym. Observe:
I've started on a new project, a theater thing. It will be a collaboration with one of my closest friends, and we're excited about it. I'm in the script writing phase now. I find that I don't have many hours to devote to it, but when I do find a bit of time, I make the best of it. Last week I sneaked off to Starbucks for a couple of hours by myself, and hand-wrote several pages at a frenzied pace.
I've been thinking about the future, and how to balance work and creativity and mothering. That silly struggle women's magazines have been writing about for decades now. I want to find a way to feel challenged, make some money, and spend plenty of time with Anton throughout his childhood. This new theater project, if it works out, would hopefully be a long-time gig, and help me achieve that goal.
Anton's napping, I'd better get back to that goal-achieving work.
It helped that the client was my mom :)
Anton is a relatively happy baby, and is quite content to be my companion when I go to the grocery store or the Farmer's Market, or out for walks. And when we're home, he loves to play in his baby gym. Observe:
I've started on a new project, a theater thing. It will be a collaboration with one of my closest friends, and we're excited about it. I'm in the script writing phase now. I find that I don't have many hours to devote to it, but when I do find a bit of time, I make the best of it. Last week I sneaked off to Starbucks for a couple of hours by myself, and hand-wrote several pages at a frenzied pace.
I've been thinking about the future, and how to balance work and creativity and mothering. That silly struggle women's magazines have been writing about for decades now. I want to find a way to feel challenged, make some money, and spend plenty of time with Anton throughout his childhood. This new theater project, if it works out, would hopefully be a long-time gig, and help me achieve that goal.
Anton's napping, I'd better get back to that goal-achieving work.
Friday, June 3, 2011
What I know and what I feel.
I was thinking a lot yesterday about my artistic goals. I'm looking forward to applying to grad programs, but it's hard to decide what exactly to study when my interests are so varied. The interests in question are centered around writing and theater, so it's not exactly all over the map, but still.
I was asking myself: what is the area in which I have the most to offer? What do I want to learn about most? What have I most enjoyed doing in the past? There is no one answer to these questions.
I know that the best thing I can do right now is to take advantage of the (ever-fleeting) time I have while I finish incubating this baby. I know that obsessing over things I wish I'd done differently in past projects is a waste of time. I know that the more I continue to create, the better I will get.
Still, it is frustrating sometimes. Even though I know all these things, how I feel is that I want to already be brilliant and recognized for it! Maybe it's silly, but it's true. I'm reading Margaret Atwood's The Blind Assassin for the Atlantic's book club I mentioned earlier, and as I read I keep thinking, damn, she's good. I am not as good as her. Well, of course I'm not. She's Margaret freaking Atwood! Still, it makes me sigh and look at my writing projects and tweak and edit and rewrite sentences and then sigh again.
Oh well, back to work.
I was asking myself: what is the area in which I have the most to offer? What do I want to learn about most? What have I most enjoyed doing in the past? There is no one answer to these questions.
I know that the best thing I can do right now is to take advantage of the (ever-fleeting) time I have while I finish incubating this baby. I know that obsessing over things I wish I'd done differently in past projects is a waste of time. I know that the more I continue to create, the better I will get.
Still, it is frustrating sometimes. Even though I know all these things, how I feel is that I want to already be brilliant and recognized for it! Maybe it's silly, but it's true. I'm reading Margaret Atwood's The Blind Assassin for the Atlantic's book club I mentioned earlier, and as I read I keep thinking, damn, she's good. I am not as good as her. Well, of course I'm not. She's Margaret freaking Atwood! Still, it makes me sigh and look at my writing projects and tweak and edit and rewrite sentences and then sigh again.
Oh well, back to work.
Tuesday, May 3, 2011
Cranky pregnant lady gripe of the day
What happened to Sunday matinee performances, New Orleans?
I, and the old people, would love to see your play, but if you only have performances that start at 8pm, I have 2 options: try to convince David to go with me, or skip it.
Unfortunately, tiring easily + saying no to caffeine + living 1.5 hours away from NOLA means that I really can't start my drive home at 10pm or later. I drive up I-55 surrounded by swamps and pine trees and have a really hard time staying awake.
Heck, even before I was preggo, I liked seeing Sunday matinees. It was a not-as-busy time of the week for me.
Gah, I hate missing interesting plays :(
I, and the old people, would love to see your play, but if you only have performances that start at 8pm, I have 2 options: try to convince David to go with me, or skip it.
Unfortunately, tiring easily + saying no to caffeine + living 1.5 hours away from NOLA means that I really can't start my drive home at 10pm or later. I drive up I-55 surrounded by swamps and pine trees and have a really hard time staying awake.
Heck, even before I was preggo, I liked seeing Sunday matinees. It was a not-as-busy time of the week for me.
Gah, I hate missing interesting plays :(
Tuesday, April 19, 2011
Relocated.
I went to Lewisville, TX this past weekend to participate in the American Association of Community Theatre's regional festival. I've been a part of an original piece called A-musing with Ashe Cultural Arts Center. We won at the Louisiana festival in February, so we advanced to the regionals. We didn't win in Texas, though - which I have mixed feelings about. The national festival is in New York in late June, when I'll be 8 months pregnant, so they would have had to replace me anyway. But it would have been nice for the rest of the team (who all worked harder and longer on this project than I did) to advance.
While packing to return home, it hit me that, for the first time in eight years, the home I was returning to was not New Orleans. I moved in with my partner (my baby's dad) at the end of March, and we live in Denham Springs.
I remember a few years ago, my sister and I (we lived together at the time) were thinking of moving to a new apartment, and we looked at some places on Algiers Point. We were unsure whether it would feel "too far" from downtown New Orleans. Ha! Now I'm a 90 minute drive away (if traffic cooperates).
I live in a subdivision with cookie-cutter new brick houses and no trees. There are no stores within walking distance. I've been forced to shop more than once at Walmart (which, among its other obvious issues, does not exactly have a great selection of vegan foods). Sometimes this still feels like a weird dream.
On the other hand, I now live in a 3 bedroom house with a big yard, 2 cats, and the guy I love. I've planted a vegetable garden. We've got a big compost bin, which for some reason I find ridiculously thrilling. Our son's room is gradually filling up with artwork, toys, and clothes that other parents have given me.
I'm still commuting to NOLA for work two days a week, and I've also visited often to see plays and attend French Quarter Fest. We recently checked out the Swine Palace Theater on LSU's campus, closer to home, for their production of The Metal Children, which I enjoyed.
The pace of my life has dramatically slowed over the past few months. I'm simply not able to work as much, to do as much theater, to exercise as much, etc. It was a big shift - much like the move itself. But I've found myself enjoying being able to really focus on one thing at a time. I do prenatal yoga DVDs. I cook dinner (I was doing that before, but it's nice to have someone to share it with). I finished revising the novel I've been working on for two years (finally!) and am ready to take that project to the next stage. When I was in Lewisville, I was able to direct all my energy to our performance and the necessary preparations. When I drove into NOLA for Playback rehearsal on Sunday, I felt fully "there," with no future responsibilities tugging at my brain.
I know this period will be brief. Believe me, every parent I know has informed me multiple times that this stuff will not be possible, at least for a while, after our baby is born. But it's where I'm at right now, and I'm enjoying the moments as they come, these days.
While packing to return home, it hit me that, for the first time in eight years, the home I was returning to was not New Orleans. I moved in with my partner (my baby's dad) at the end of March, and we live in Denham Springs.
I remember a few years ago, my sister and I (we lived together at the time) were thinking of moving to a new apartment, and we looked at some places on Algiers Point. We were unsure whether it would feel "too far" from downtown New Orleans. Ha! Now I'm a 90 minute drive away (if traffic cooperates).
I live in a subdivision with cookie-cutter new brick houses and no trees. There are no stores within walking distance. I've been forced to shop more than once at Walmart (which, among its other obvious issues, does not exactly have a great selection of vegan foods). Sometimes this still feels like a weird dream.
On the other hand, I now live in a 3 bedroom house with a big yard, 2 cats, and the guy I love. I've planted a vegetable garden. We've got a big compost bin, which for some reason I find ridiculously thrilling. Our son's room is gradually filling up with artwork, toys, and clothes that other parents have given me.
I'm still commuting to NOLA for work two days a week, and I've also visited often to see plays and attend French Quarter Fest. We recently checked out the Swine Palace Theater on LSU's campus, closer to home, for their production of The Metal Children, which I enjoyed.
The pace of my life has dramatically slowed over the past few months. I'm simply not able to work as much, to do as much theater, to exercise as much, etc. It was a big shift - much like the move itself. But I've found myself enjoying being able to really focus on one thing at a time. I do prenatal yoga DVDs. I cook dinner (I was doing that before, but it's nice to have someone to share it with). I finished revising the novel I've been working on for two years (finally!) and am ready to take that project to the next stage. When I was in Lewisville, I was able to direct all my energy to our performance and the necessary preparations. When I drove into NOLA for Playback rehearsal on Sunday, I felt fully "there," with no future responsibilities tugging at my brain.
I know this period will be brief. Believe me, every parent I know has informed me multiple times that this stuff will not be possible, at least for a while, after our baby is born. But it's where I'm at right now, and I'm enjoying the moments as they come, these days.
Sunday, March 13, 2011
Theater life of late
I went to see Intringulis at Southern Rep last night, after winning tickets to opening night via a Facebook contest. I love solo shows and have done a couple myself in the past. I like to look at how they are structured. Solo shows can be great to take on the road, because you don't have a big group of people to wrangle (and pay). Many of them have minimal sets and costumes, because generally the performer does not exit the stage so there is no time for changes. This show had a simple set design that worked quite well. I especially liked the window that was used for a scene about a window-washer, and later used like a dry erase board with markers. Carlo Alban sang songs and played guitar throughout the show, which was a wonderful addition to his insightful narration and portrayal of several characters.
Personal stories can be so illuminating, and are often ignored in discussion of big political issues. This play brings an important perspective to the immigration debate.
I also have to add that they were selling vegan chocolate chip cookies at the show, and the opening night reception included some delicious fruit. Score!
As for me, the project I've been working on with Ashe Cultural Arts Center, A-Musing, won first place in the Louisiana AACT festival. This means we'll be traveling to Texas next month to compete in the regional competition. Working on a show while pregnant has been much more of a challenge than I anticipated*, but I am proud of the piece, which has evolved a LOT since I joined the process, and heck, it's always nice to win awards!
*Translation: I have been the kind of lethargic, whiny and overly emotional actor that I always found annoying to work with in the past. In fact, I find myself annoying to work with, yet I can't seem to snap out of it. I'm just not my energetic self these days!
Personal stories can be so illuminating, and are often ignored in discussion of big political issues. This play brings an important perspective to the immigration debate.
I also have to add that they were selling vegan chocolate chip cookies at the show, and the opening night reception included some delicious fruit. Score!
As for me, the project I've been working on with Ashe Cultural Arts Center, A-Musing, won first place in the Louisiana AACT festival. This means we'll be traveling to Texas next month to compete in the regional competition. Working on a show while pregnant has been much more of a challenge than I anticipated*, but I am proud of the piece, which has evolved a LOT since I joined the process, and heck, it's always nice to win awards!
*Translation: I have been the kind of lethargic, whiny and overly emotional actor that I always found annoying to work with in the past. In fact, I find myself annoying to work with, yet I can't seem to snap out of it. I'm just not my energetic self these days!
Thursday, January 27, 2011
Three random things I'm digging right now
1. My new Massage Star:
In general, I'm not a huge fan of using anything other than my hands (or maybe hot stones) during massage, but during my recent CEU class I got to try out a few different "toys" and this one I actually like. It fits in my hand well and is good for adding force without straining my fingers. Also easy to wash (some of the stuff I've seen looked like it would be difficult to clean...which really creeps out my inner germ-phobe).
2. PlayLab at Southern Rep Theatre. I hadn't gone to this in a while, and forgot how awesome it is. It's a venue for playwrights to hear short excerpts (or short complete works) read aloud by actors. After the reading, the playwright gets feedback from a generally thoughtful and enthusiastic audience of theater-lovers. And it's free! I've participated in the past as both an actor and a playwright, but this time I just went as an audience member. I got inspired, and wrote a new short play yesterday!
3. The Hey! Cafe on Magazine (at Napoleon). I don't know why I never went in here until recently. They have vegan stuff! Lots of it! Eclairs and cupcakes and vegan quiche and more! And you can get almond milk in your coffee drinks! Also the baristas are friendly and I've never had a hard time finding a place to sit. It's about a 20 minute walk from my house, which is good for getting some sunshine and exercise.
In general, I'm not a huge fan of using anything other than my hands (or maybe hot stones) during massage, but during my recent CEU class I got to try out a few different "toys" and this one I actually like. It fits in my hand well and is good for adding force without straining my fingers. Also easy to wash (some of the stuff I've seen looked like it would be difficult to clean...which really creeps out my inner germ-phobe).
2. PlayLab at Southern Rep Theatre. I hadn't gone to this in a while, and forgot how awesome it is. It's a venue for playwrights to hear short excerpts (or short complete works) read aloud by actors. After the reading, the playwright gets feedback from a generally thoughtful and enthusiastic audience of theater-lovers. And it's free! I've participated in the past as both an actor and a playwright, but this time I just went as an audience member. I got inspired, and wrote a new short play yesterday!
3. The Hey! Cafe on Magazine (at Napoleon). I don't know why I never went in here until recently. They have vegan stuff! Lots of it! Eclairs and cupcakes and vegan quiche and more! And you can get almond milk in your coffee drinks! Also the baristas are friendly and I've never had a hard time finding a place to sit. It's about a 20 minute walk from my house, which is good for getting some sunshine and exercise.
Thursday, November 18, 2010
Success!
Last night we had two performances of To Moscow, You Betcha!, at 7pm and 9pm. They both went well...I was especially pleased with the second performance (because I managed not to mess up my light and sound cues). I put myself on the light/sound board for two reasons: first, it's hard to find good, reliable people who will do tech for free, and second, it's good if I have a task, otherwise I'll die of nerves.
I felt so honored and supported as an artist (I know that sounds cheesey, but it's true). It really means a lot to me that I was able to round up a group of smart, talented people to give up large chunks of their time and devote so much energy to my project.
Today I feel like this:
Our next (and last...sniff) performance will be on Sunday at 7. Tonight I'm going to check out some other Fringe shows.
I felt so honored and supported as an artist (I know that sounds cheesey, but it's true). It really means a lot to me that I was able to round up a group of smart, talented people to give up large chunks of their time and devote so much energy to my project.
Today I feel like this:
Our next (and last...sniff) performance will be on Sunday at 7. Tonight I'm going to check out some other Fringe shows.
Tuesday, November 2, 2010
Listen to me, I am feverish and feeble!
I've been busy preparing for the play, finding and putting together costumes, props, and promotional materials. I'm also studying for the GRE, and then of course, there's work. I skipped Halloween this year because I just wasn't feeling it. I wanted to relax more than I wanted to party. I spent Sunday night over at my mom's house on the North Shore.
Now I seem to have caught a cold, so I plan to spend most of today on my couch, eating the banana bread that's currently in my oven, making my apartment smell delicious. I promise I'll drag myself out to walk 2 blocks and vote at some point, though.
My mom watches this program on public TV called "Steppin Out," which features a theater reviewer who used to work for the Times-Picayune. She was telling me about his comments on the most recent episode, which is available online here. My mom was happy to report that he brought up the issue of actors missing too many rehearsals, which has been one of my main complaints since I started directing. Mr. Cuthbert thinks that this is a recent problem, and states that there used to be a higher level of commitment in New Orleans theater. I always figured it was just the um...unique sort of work ethic that people have here.
OK, I know I'm on some dangerous ground here, as a Yankee and all, but I do have to say my experiences in New England were much different than my experiences in NOLA when it comes to work ethic and commitment. I remember when I was in college I was twenty minutes late to a rehearsal once due to car problems or something, and I got a very stern talking-to from the director and made sure I was never late again. Actors didn't miss rehearsals unless they had a VERY good excuse. Here? Not so much.
Then again, I don't think it's only limited to theater. When I worked an office job, people came in late, left early, and missed work often. People just don't work as hard in NOLA as they do up north. They have a lot more fun, though.
Maybe we should all start serving alcohol at rehearsals...
Now I seem to have caught a cold, so I plan to spend most of today on my couch, eating the banana bread that's currently in my oven, making my apartment smell delicious. I promise I'll drag myself out to walk 2 blocks and vote at some point, though.
My mom watches this program on public TV called "Steppin Out," which features a theater reviewer who used to work for the Times-Picayune. She was telling me about his comments on the most recent episode, which is available online here. My mom was happy to report that he brought up the issue of actors missing too many rehearsals, which has been one of my main complaints since I started directing. Mr. Cuthbert thinks that this is a recent problem, and states that there used to be a higher level of commitment in New Orleans theater. I always figured it was just the um...unique sort of work ethic that people have here.
OK, I know I'm on some dangerous ground here, as a Yankee and all, but I do have to say my experiences in New England were much different than my experiences in NOLA when it comes to work ethic and commitment. I remember when I was in college I was twenty minutes late to a rehearsal once due to car problems or something, and I got a very stern talking-to from the director and made sure I was never late again. Actors didn't miss rehearsals unless they had a VERY good excuse. Here? Not so much.
Then again, I don't think it's only limited to theater. When I worked an office job, people came in late, left early, and missed work often. People just don't work as hard in NOLA as they do up north. They have a lot more fun, though.
Maybe we should all start serving alcohol at rehearsals...
Monday, October 11, 2010
This just in: college students drink and have sex!
OK, maybe I'm a bad person, but I read the entirety of the Duke Powerpoint Sex List Thing and I found it pretty amusing. I'm sure it's an embarrassing situation for the guys involved, especially the ones who Karen found somewhat...lacking...and I'm sure it's an embarrassing situation for her, too, since apparently she only intended to share it with a couple of friends.
Still, I thought it was witty and it gave me a glimpse into a very different kind of college experience than the one I had. She seemed to exclusively go for athletes. In fact, at one point she wakes up in the morning next to a stranger, with no recollection of how she got there, and her biggest fear is that he's a townie. When she realizes he's a baseball player, she's so relieved that she hangs out with him for a while, watching ESPN.
Anyway, I was never into jocks, which is convenient, since they were never into me, either. I thought maybe I'd enjoy this oversharey list more if it were about theater majors. So I tried to imagine how that would go.
"I first noticed Subject 5 in Linklater class, when we did this exercise where one person lies on the floor and the other person puts a hand on their stomach to see if they're breathing properly from their abdomen...whoa, totally felt like he had a six pack! Later that semester, we were rehearsing "How I Learned to Drive," and we stayed after rehearsal, talking about how it just wasn't feeling genuine. So then we decided he should actually feel me up so we could use that experience in the work. Well, one thing led to another and we ended up in the lighting booth, it was getting really hot, but then he suddenly stopped and said, 'Wait, I never told anyone this before, but I think I might be gay.'"
OK, that's why there isn't a Powerpoint Sex List about theater majors.
P.S. Happy National Coming Out Day ;)
Still, I thought it was witty and it gave me a glimpse into a very different kind of college experience than the one I had. She seemed to exclusively go for athletes. In fact, at one point she wakes up in the morning next to a stranger, with no recollection of how she got there, and her biggest fear is that he's a townie. When she realizes he's a baseball player, she's so relieved that she hangs out with him for a while, watching ESPN.
Anyway, I was never into jocks, which is convenient, since they were never into me, either. I thought maybe I'd enjoy this oversharey list more if it were about theater majors. So I tried to imagine how that would go.
"I first noticed Subject 5 in Linklater class, when we did this exercise where one person lies on the floor and the other person puts a hand on their stomach to see if they're breathing properly from their abdomen...whoa, totally felt like he had a six pack! Later that semester, we were rehearsing "How I Learned to Drive," and we stayed after rehearsal, talking about how it just wasn't feeling genuine. So then we decided he should actually feel me up so we could use that experience in the work. Well, one thing led to another and we ended up in the lighting booth, it was getting really hot, but then he suddenly stopped and said, 'Wait, I never told anyone this before, but I think I might be gay.'"
OK, that's why there isn't a Powerpoint Sex List about theater majors.
P.S. Happy National Coming Out Day ;)
Tuesday, July 6, 2010
Work and results
A friend posted this article on Facebook, which is about trades and manual labor. It's a great read. I could relate quite a bit.
I graduated with a degree in Theater Arts in 2003, and moved to New Orleans six days after graduation. After about a month of temp work and frustration, I got a full time job as an Office Manager for an IT consulting company. I worked there until 2006, when I quit to go to massage school.
I never fully understood what exactly the company I worked for did. Nor did I feel that the work I was doing was important, beyond general helpfulness to my co-workers. I spent a lot of time bored out of my mind, and tried to learn new things to fill my time. There were a few things I enjoyed - the IT guy showed me how to make ethernet cables and we re-wired the office (that was fun!), and I learned enough about various programs we used that I was the support contact for my co-workers (that was fun, too!). But overall...yeah. Bored out of my mind.
I remember one day, one of my co-workers, who was not usually someone I would consider very sensitive to the moods and feelings of others, said to me, "You look like you're suffering from a lack of artistic opportunities."
This was a surprising statement, coming from this particular person, but it was, of course, completely true. When I was working on a play, I found that I could tolerate my "day job." Sure, it meant long hours of rehearsal on top of long hours in the office, but I felt like I was doing something meaningful. When I wasn't in a play, I got depressed.
I used to worry that I would always have to have a "day job" that I disliked, because it seemed unlikely that I'd ever make a living doing theater. I am so happy that I discovered Massage Therapy, because I love it and people seem willing to pay me to do it.
One of the great things about massage is that you can feel results. This is something the author of the NYT article talks about - tangible results. If I client walks in the door stressed out and in pain, and leaves happy and pain-free, you can't argue with that result.
But I think this concept also applies strongly to theater. When you've rehearsed a show for weeks, and then it opens and you've actually managed to pull it off, it creates this amazing euphoria. You hug everyone backstage, even the annoying people that drove you crazy throughout the rehearsal process.
And sure, part of that euphoria is artistic fulfillment, the feeling of connection with the audience, the risk of the live moment. But another very large part of it is simply seeing the results of your work.
And audiences love to see "the work" happening on the stage. When a performer is fully immersed in their work, their role, the audience gets to witness the result of hard work. It's immensely satisfying. As audiences, we want to see them pull it off.
As the NYT article mentions, we live in a society where work is often about vague concepts and corporate absurdity. It's natural for human beings to long for honest communication and visible results. The theater can provide us with that. Now, if only it would also pay our bills...
I graduated with a degree in Theater Arts in 2003, and moved to New Orleans six days after graduation. After about a month of temp work and frustration, I got a full time job as an Office Manager for an IT consulting company. I worked there until 2006, when I quit to go to massage school.
I never fully understood what exactly the company I worked for did. Nor did I feel that the work I was doing was important, beyond general helpfulness to my co-workers. I spent a lot of time bored out of my mind, and tried to learn new things to fill my time. There were a few things I enjoyed - the IT guy showed me how to make ethernet cables and we re-wired the office (that was fun!), and I learned enough about various programs we used that I was the support contact for my co-workers (that was fun, too!). But overall...yeah. Bored out of my mind.
I remember one day, one of my co-workers, who was not usually someone I would consider very sensitive to the moods and feelings of others, said to me, "You look like you're suffering from a lack of artistic opportunities."
This was a surprising statement, coming from this particular person, but it was, of course, completely true. When I was working on a play, I found that I could tolerate my "day job." Sure, it meant long hours of rehearsal on top of long hours in the office, but I felt like I was doing something meaningful. When I wasn't in a play, I got depressed.
I used to worry that I would always have to have a "day job" that I disliked, because it seemed unlikely that I'd ever make a living doing theater. I am so happy that I discovered Massage Therapy, because I love it and people seem willing to pay me to do it.
One of the great things about massage is that you can feel results. This is something the author of the NYT article talks about - tangible results. If I client walks in the door stressed out and in pain, and leaves happy and pain-free, you can't argue with that result.
But I think this concept also applies strongly to theater. When you've rehearsed a show for weeks, and then it opens and you've actually managed to pull it off, it creates this amazing euphoria. You hug everyone backstage, even the annoying people that drove you crazy throughout the rehearsal process.
And sure, part of that euphoria is artistic fulfillment, the feeling of connection with the audience, the risk of the live moment. But another very large part of it is simply seeing the results of your work.
And audiences love to see "the work" happening on the stage. When a performer is fully immersed in their work, their role, the audience gets to witness the result of hard work. It's immensely satisfying. As audiences, we want to see them pull it off.
As the NYT article mentions, we live in a society where work is often about vague concepts and corporate absurdity. It's natural for human beings to long for honest communication and visible results. The theater can provide us with that. Now, if only it would also pay our bills...
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