Strand Theater Company

Wedding Ring

noreply@blogger.com (Strand Theater Company) — Tue, 20 Apr 2010 23:35:00 +0000

Last night Amelia (Mai) asked me whether I was going to be wearing a wedding ring. At first I thought she was asking me something else. I felt a dropping feeling in my chest.

"Uh, I don't have mine. My wife kept it."

Long story, but that's what happened to my wedding and betrothal rings – I stopped wearing them, and my wife took them. That was before I moved out, about a year and a half ago.

Of course Amelia was just asking me because she thought Robert should be wearing one.

So I'm going through a divorce right now. That's what they call it – even though I moved out of the house in the end of December 2008, even though I started trying to leave and planning to leave in May 2008, I'm still "separated," still "going through a divorce." I had to file my 2009 taxes "Married Filing Separately" rather than single because I'm not divorced yet. Have you ever considered how much harder it is to get divorced than married? Marriage is a certificate at a local courthouse, divorce is a year-long or longer process that tears you up financially and emotionally.

At first I didn't want to like Robert. I despised him for cheating on his wife. But eventually I realized my dislike of Robert was tied up with my continued sense of shame and guilt for leaving. I don't want to talk about my reasons for leaving my wife on a public forum. But there are some similarities between Robert and me. Working with Robert meant working with my feelings about leaving my wife.

Rehearsals for this part were very difficult. I've been acting for a while. I don't break character unless I mean to. But the fights between Robert and the Mai –and in particular, confronting her grandmother – I found it hard to stay in the scene.

This is one of the most challenging roles I've ever attempted. I really hope this means something to somebody.

The Strength of a Mother

noreply@blogger.com (Strand Theater Company) — Thu, 15 Apr 2010 15:02:00 +0000

My mom is an aggressive career woman who flaunts her independence and eccentricity. She restored a fixer-upper on her own, which she bought while working as one of the only female engineers (and labor union officials) at NBC in L.A. during the 70s and 80s. Mom never wore makeup, and often sported a t-shirt reading “A Woman needs a Man like a Fish needs a Bicycle”. Goats and peacocks wandered about the backyard, till the neighbors couldn’t stand the noise anymore; a Gila monster lurked around after that. This was all before I was born. This world-traveling, hell-raising activist reared us forcefully.

When I started working on “The Mai”, it was tough to avoid comparing my character to my mother. That quickly fell away as we got the play onto its feet and started doing character work. The improvisations we did, especially between the sisters, helped me see how Mai equates validation with love, and strives for perfection.

While improvising with Robert (Jon) about why he left in the first place, he asked me straight out, “Why do you need to be so perfect? Why can’t you leave it alone?” I tried to explain how much I wanted things to be perfect for him, but he wasn’t convinced. Things got heated, and the tension between us was palpable - it was a breakthrough.

I’ve been exploring those questions he asked me. When I was reading an article about anorexia a while back, I found an equation echoing Mai’s view. This is a breakdown of an anorexic’s illusion of control:

“Control equals strength, strength equals denial, denial equals simplicity, simplicity equals purity, purity equals perfection, perfection equals perfect control.” Mai’s not an anorexic, but she demands control in her relationships. She starts to lose control when Robert comes back. The dream of love is a dangerous seduction, which cannot gild her grapple for power with her loved ones.

The stage has to be a dangerous place. Endangering myself as the Mai does not mean I’m throwing knives up there, but allowing myself to be vulnerable. This work has been deliciously challenging; the greatest challenge has been allowing things to happen, and restraining myself from forcing anything. Because, like Mai, I crave control, and like my mom, I push myself hard. I want to give this everything I’ve got, and hope that I can keep opening myself up.

Spread Pain Like Butter

noreply@blogger.com (Strand Theater Company) — Fri, 09 Apr 2010 13:50:00 +0000

For the most part I don’t like to publicly air my personal pain. Sure, I can be dark and love to bitch, but I am talking about the deep sadness. The deep deep sadness that you carry around – the shameful secret that you are not right inside.

After one especially vigorous rehearsal for The Mai I told an actor that I wanted to split him open and smear his pain all over the stage. I mean really drench the stage in blood and tears. That is what people want to watch after all. Theater is about inciting emotion, getting to the guts of it. We aren’t here to glide around the stage and talk about something mildly upsetting. I’m kinda mad, or kinda in pain, or I might kill myself. Nope, I am going to slit my wrist and sit on top of your face and stare into your eyes as I bleed to death. Now watch.

Two nights ago I dreamt that I was in a big house that wasn’t mine. It was all white. Someone kept ringing the doorbell but when I went to answer it no one was there. Then I heard a loud knocking on the back door. I opened it and there stood my mom. We talked. I don’t remember everything we said but I do remember she told me it wasn’t my fault. Then I woke up, feeling not right inside.

At the end of The Mai a similar conversation occurs. It transcends time and allows a grown up daughter to talk to her mother as a woman. A woman whose life has been completely altered by her tormented mother. It touches me; it hurts where I am most embarrassed to show. I get teary eyed in rehearsal; I have to lock it down. I can’t go around showing my under belly to everyone. Then I give notes, and tell the actors it wasn’t painful enough.

Coming Back to the Cello

noreply@blogger.com (Strand Theater Company) — Mon, 29 Mar 2010 18:52:00 +0000

My character, Robert, is a professional cellist. This makes him a driven, passionate individual, etc. etc., but he also needs to be able to play the cello, especially since he plays the instrument in several scenes during the show. I think Jayme cast me without knowing I could play the instrument – luckily, I can.

Another stroke of luck was when I discovered a good friend's father owned a cello they could lend me for a few months. And Amelia Adams (The Mai) worked at a music store, so she let me use her discount to purchase rosin, cloth, and other things I would need to use the cello.

Despite these happy coincidences, there was one last obstacle: I hadn’t touched the instrument since high school. I played for about six years in junior high and high school, was a member of the Chattanooga Youth Orchestra (in Chattanooga, Tennessee) for a few years, but when I went to college I dropped the instrument and concentrated on drinking - I mean, my studies. So in addition to learning my lines and rehearsing, I would need to relearn how to play an instrument.

Well, that part's still in progress – I didn't even remember how to read music a month ago! But after some study and practice I know my D string from a treble clef again, and we've picked out some great pieces for me to play, so now all there's left to do is for you to come see the show and judge for yourself!

I’ve always fantasized about playing a drug addict. Key word: fantasized.

noreply@blogger.com (Strand Theater Company) — Wed, 27 Jan 2010 00:30:00 +0000

I’ve been in plenty of shows that have these types of roles. I am not the type of woman who fits the bill, though. I’m relatively straight edged. I’ve played my fair share of ingénues, dancing and singing fairies, even men. I like to think of myself as a good, respectable girl (although some will debate that).

Well, that all changed in December of 2009. I got cast as Giselle in The Lacy Project at the Strand Theater. Giselle is… how shall I put it lightly? Not a good girl. She’s a coke addict. She likes to do heroin for what she calls, “special occasions.” And, my personal favorite…

… she’s the first white girl M.C. at the club across the street.

Needless to say, I freaked out when I got the e-mail saying I was cast. I poured over the script, and asked myself, “oh dear God… what have I gotten myself into?” I just graduated from a music conservatory with a degree in opera. Opera. I’ve never done any of those drugs. How the hell am I going to pull this off?

We had a read through and it felt wrong. I almost went to my director, Josh, “excuse me… I think you made a mistake with casting.” Was I really playing this role? Did he really see Giselle in me? Because I sure as hell didn’t.

At the end of the read through, Josh told me to go on youtube and look up addicts. I nodded my head furiously and went home, literally typed in “heroin addicts,” and checked out what came up.

I had my hand clamped over my mouth for probably 15 minutes. The most shocking thing I watched was probably the ‘before and after’ slideshow of people that had been using for anywhere between one month and a year. The results were terrifying.

I watched videos of people who had overdosed. What shooting up was like. I was cringing and shouting, “my GOD!” My roommates were concerned.

“I’m doing research,” I told them.

I went into the next rehearsal with an idea of what I wanted to do, and since then, it has evolved into something completely different. Giselle isn’t the type of addict that is doped out of her mind constantly… that would be a struggle. Giselle is the addict that needs the high to function… well, normally.

Over the course of the rehearsal process, I’ve gone from falling in love with Giselle, to hating her stupid guts, to falling in love with her again. I’m in the in between stage right now as I write this. Incredibly, she reminds me of myself. Not in the drug addicted way, of course, but in the way that she puts on a damn good façade to hide what’s really going on underneath. There is one moment for where everything falls apart. It’s this type of thing I relate to- when you can’t hold it in anymore- that makes me get Giselle. Understand her.

I always knew that if I were ever cast as a drug addict, it would be a boatload of work. It’s more than that for me. I’m not method acting on this one. (My roommate Emma asked me one day, “how will you know if you never try?” to which I showed her the videos and she shut her damn mouth). It has taken research. It has taken me asking people to revisit moments that weren’t so great for them.

However, is definitely some of the most fun I’ve had on stage. For once in my life, I am out of my comfort zone as an actress. I am terrified of Giselle, but I think we’re making a lot of progress.

Money Failures

noreply@blogger.com (Strand Theater Company) — Tue, 15 Dec 2009 15:30:00 +0000

In a perfect world donor season would last year round. Non profits thrive on it. Money comes in by the fistfuls, and a fledgling theater hobbles onto the next year. But for me, I am no good at asking for money. To be honest, I downright hate it. I feel like I am asking for myself. Like the Strand is a cover for my seedy underhanded dealings. And the people most likely to give to the Strand are friends. People I know. So it feels awkward.

But the Strand has to get a piece of the tax break pie! The Strand is important! So I am faced with the difficult challenge of asking for money. Trying not to beg, and keep it all upbeat, while begging. It is hard. I want to send out a letter that just says ‘We are Fucked!’ In BIG BOLD LETTERS. I ran it by a few people. Mostly it came across a little too desperate. To which I say, ‘well we are.’

The Strand has a very small operating budget. We basically fluctuate between having $1,000 and $4,000 in our bank at one time. We don’t qualify for any significant grants yet, so we rely on rentals, donations, and box office monies. So far we have been able to get what we need. Scrape by…and little by little we add to the Strand. A better stereo system here, more lights there. Grassroots (code name for poor).

So are we failing? Hmmm. Sometimes I feel like yes and sometimes I feel like no. I guess we are always on the verge of failing. Operating on our budget makes it pretty possible that we are one small disaster away from being zeroed out. It sometimes feels like a big secret. No one wants to really know the bottom line, not sexy and fun enough. People want to be part of things that are raging successes, not raging struggles…gritted teeth and praying.

So what to do? Tonight I embark on an online campaign for the Strand but I have no theme. GIVE!? I think that might be taken. But seriously, GIVE!!! Hmmm, I am not sure. I know positive is what the people want. And yet, it goes against the very fiber of my being. Shutter. But who know, something new might be worth a try.

Super Fun Party Strand Give-A-Thon of Lots O’ Happiness!

http://www.strandtheatercompany.org/id13.html

eh????

Joining the process already in progress -

noreply@blogger.com (Strand Theater Company) — Thu, 03 Dec 2009 04:19:00 +0000

After The Mercy Seat ended on October 4th, I had decided to take a break from theater just to recharge my “batteries” so to speak. I had spent much of the year playing roles that were somewhat emotionally draining, including several at the Strand. Bermuda found me portraying the husband of a woman who had previously dated my brother, and by the end of the show, I had a complete breakdown. That was followed by Sweeney Todd (at Spotlighters), where I had an extremely minor role, but was on stage in my creepy sewer person persona virtually the entire show. Then came Women in Love, in which I played Gerald Critch, which while not a difficult role, did require me to be fully nude on stage for a solid 20 + minutes of the show, which is certainly a cause for anxiety. And then there was The Mercy Seat, in which my character, Ben, missed out on being killed in the 9/11 attacks on the WTC, because I was at my boss/lover’s loft getting a little “sumpin’ sumpin’”. Oh I should mention, Ben was married with 2 kids, and all through out the show my phone was ringing (it was my wife, hoping I was somehow alive). That show took the biggest toll of all, as it was just me and my co-star, Kasey, on stage for an hour and a half, more or less riding an emotional roller coaster, until finally, I suffer a, you guessed it, a complete breakdown. What a way to book end the year. Or so I thought!

My break lasted approximately 2 weeks. I received an email from Jayme, the wonderful Artistic Director of The Strand, asking if I was sure I wanted to take a break. Her show, [sic], had been in rehearsal for a few weeks, but unfortunately, she lost an actor, and needed a replacement. I was hesitant at first. I had purposely not auditioned for [sic] due to my wanting/needing to take a break. However, having worked with Jayme in the past, and knowing that she was in a bind, I decided to take the plunge.

There has been one other occasion where I have replaced an actor partway through the rehearsal process, and while it was ultimately successful, I did not get to truly enjoy the experience because I felt like I was constantly being compared to the original actor. Initially, I had those same feelings when I joined the cast of [sic]. They had been working together for a few weeks by that time, presumably building chemistry, and learning to play off one another, as well as closing in on the “off-book” date. So in I came, joining the process in progress. I should mention that the script for [sic] is unconventional, to say the least. There is no punctuation at all written into the script, which leaves much of the interpretation to the actor. At first I was worried about trying to do it like the other actor had been doing it. However, after much encouragement from Jayme, not to mention Alec and Tami (the other actors in the play), I started to relax a bit more, and allowed myself to enjoy the process we were going through. And not surprisingly, that is when the magic started happening. I started finding the nuances of Theo, as well as coming up with an affected voice for him, and also facial/body tics, and a walk that is really more like a “shuffle”. I’m on stage about 98% of the play, so I always have to be doing something. Whether it be smelling my candy bars before taking a bite, or having a specific method for drinking my soda, the character of Theo as I portray it, is different than any I have played before. I laughed when one of the reviews stated that “Rohrer plays Theo as if an autistic Rainman”, which is a bit redundant in my opinion, but I saw her point. And while the reviewer meant it as a criticism, I actually took it as a complement. I’m extremely happy that I was giving the opportunity to join the cast of [sic]. The audience/critics may love it or hate it, but for me, I’m having more FUN on stage than I’ve had in well over a year. Hopefully that is a sign of good things to come.

I Don't Get It!

noreply@blogger.com (Strand Theater Company) — Sun, 29 Nov 2009 02:14:00 +0000

I recently received an email from a director in India who googled [sic] and found the Strand. She asked if I would send her a video of the Strand's production in the hopes of better understanding how to stage Melissa James Gibson's unique play. She said she was struggling with how to direct the piece and had a hard time grappling with the language, finding the humor. I was of course very happy to get the email.

Hello,
I am part of a theatre company, Mostly Harmless inc, located in Delhi, India, and having come across the script [sic] decided to stage it in February next year. I am directing the play.
So far directing the play has been challenging. We've managed a good cast but I find that I'm still very confused with regards to the stage setting and its various possibilities.
I searched [sic] on google and your facebook page came up as a search result. I've looked over your facebook page and you guys look really good, and I was wondering if there was any way in which could actually watch some parts of the play online once it is staged, to sort of draw some inspiration with regards to the stage setting and also with regards to the interpretation of the humour in the play, particularly with regards to its verbal nuances.
I apologize if this seems random, rude or burdensome, but I'm really looking for any help I can get.
Gideon Mathson,
Mostly Harmless (New Delhi)

When I chose [sic] it was a very distinct choice. It is a weird play. It doesn't always make sense. It borders on a sitcom feel, it is mundane but funny. It is very language heavy. It reminds me of Dawson Creek. Why are these characters expressing themselves this way, can they use some slang for f's sake? Why is there no plot? Nothing happens.

The character's obsession with Mrs. Jorgenson barely passes as an actual plot. So much of it is left for interpretation. Did Frank kill Mrs. J? Does it matter really?As the cast and I muddled through the show we asked the same questions. I looked for reviews of the show, only to find that reviewers asked the same questions. What did the show mean? It didn't make sense.

It is funny, because everyone (including myself) who read the play really liked it. I myself loved it, but I couldn't express why. It broke conventions. It was good writing. It contained magical realism and themes of inadequacy. It moved. It left all the decisions up to the director, it was there to be interpreted. To me, it was an obvious choice.

So, what does the play mean? Well, I guess when I was directing it I decided what it meant for me. My favorite line in the play is when the Theo, Frank, and Babette discuss what game they should play. 'Can you cloak your animosity a little I just woke up'-my favorite. Gibson writes about me. A failure in all my glory. It is what I think about at night, why am I alone? Where is my career? When I write a blog why do I write so many questions?!

After directing [sic] I don't think I can go back. I want it weirder, I want it even harder to understand. I want the reviews so bad or so good. I want a visceral reaction that only comes from putting something onstage truly unique. I want to always be confused, and discover what is important to me through the process. That is the reason the Strand exists.

Theater Freebees

noreply@blogger.com (Strand Theater Company) — Mon, 16 Nov 2009 16:38:00 +0000

I was going to be a sociology major. I don't know why. At the time it sounded like a good idea. I got sucked into the theatre scene pretty quickly in college and declared my major with some hesitation. Am I going to be successful? Am I going to be able to support myself? I dunno. We'll see.

So far, so good. I've done some great work since I graduated in 2007, learned a whole lot, grew up a lot. My greatest learning experience came when I landed a position as a company stage manager at a theatre in Wichita, KS. Was I REALLY going to pick up and move to Kansas? Yeah. I really was. Things were fantastic at first. Loved my apartment. Loved the people I was working with. Was getting paid.

Then I stopped getting paid.

I was stranded in the middle of the country with no family, no income, working long hours and therefore unable to seek a second job to GET an income. I certainly won't go into the difficulties the company faced during that time. But it was hard. Very hard. I didn't know how to approach the producer about my problems, because they were problems that likely wouldn't be fixed...there was just no money. But I kept going, you know? I was doing theatre. When I was working, I was happy. But as soon as I left rehearsal, everything changed. I gradually started to resent theatre. I couldn't support myself. My mother couldn't pay all of her bills at home and mine in Wichita.

After Christmas I started applying for part time jobs. If I had to work 18 hours a day to pay my bills, then so be it. I got a job at the Super Target and was scheduled to start opening week of our next show. The show opened, audience seemed to enjoy it. Good times were had. Target Team Member by day, Stage Manager extraordinaire by night. Until I got "the call."

I guess everyone has to get one of those calls in their lives. That call when it feels like you're entire world is caving in and nobody can see it happening. The producer called and left me a voicemail. I checked it when I finished my shift at Target. "I'm sorry Danielle. I have to close the theatre." I guess part of me thought...."well, I wasn't getting paid anyway, so it's not really that much different." I had just done two months of work for free. Worked 18 hour days, all for nothing. I had been sitting on the Target parking lot when I got the message. I marched myself right back into the store, went to my team leader and asked him to take me on full time. And then I went home and cried. And wished that I had a gallon or three of ice cream to eat...but I had no money to buy the ice cream.

After that, I swore that I would NEVER do theatre again. Paid. Unpaid. I didn't care. I didn't want to be anywhere near a stage. I wanted to get a practical, secure job. I never, ever wanted to experience those feelings again.

Needless to say, I recovered from that feeling. It took me about a year, but now I'm back at it. I love theatre too much to let that nightmare change me. I'm happiest when I'm doing theatre - even when I work for free.

Family Ties

noreply@blogger.com (Strand Theater Company) — Thu, 05 Nov 2009 01:50:00 +0000

It's strange. After each show one goes through, you make a little family. And, as I was discussing this with an actor I had worked with previously, you have to let that family go each and every time. As you go through rehearsals, annoyances, show runs, errors, etc.; you create a bond with the people you spend an ungodly amount of hours with in a relatively short time frame. They become a family, with the love and hatred of family, because of one clear idea, you have to be around them. Like a real family, in a performance, everybody (for the most part) are people you have to learn to survive being around. Sometimes its easy, and, as many can attest to, sometimes its extremely difficult. I think that's why it is so hurtful when there are nights that few people show up. The entire cast and crew unite to give a jaw-dropping, spectacular performance for the people who honored us with their presence. But there is still the lingering feeling everyone has; that we aren't getting the respect for the time and work we all put in. And after a run, with the highs of a near full-house plus the lows of five seats filled one night, you let go. You say you'll stay in touch, but, especially for the freelance artist, that rarely happens. And you move on to a new family. Is that the theatre artists burden? Or the source of our strength? Intense, interpersonal connections that disappear before they can sizzle out? In no other art do give yourself entirely to someone else, someone you see everyday. Actors, designers, directors, stage-managers; everyday we give ourselves to the person stand next to us. That's why we're a family. And more quickly than it ever should be, we move on, just to give ourselves to someone new.

Nervous Nelly Jayme

noreply@blogger.com (Strand Theater Company) — Sun, 11 Oct 2009 17:48:00 +0000

Yesterday I was beat. I mean tired. Exhausted, gonna die. Besides my mild flu (or extreme case of fatigue, who knows) it has been nonstop at the Strand. October it seems is the month of events, and in the spirit of keeping our doors open, I have booked more events then I am probably capable of running. And, when you look it our calendar, it really isn't THAT many events, but when you factor in rehearsals, day jobs, and the cold hard fact that our entire staff is run by volunteers, it becomes overwhelming.

Yesterday I had [sic] rehearsal from 11am-2pm. As I went home to nap in preparation for SKITCOM, our Second Saturday event, I found myself getting really nervous. I don't like being the center of attention. Well, I am sure secretly I do or else I would not have opened a theater, but speaking in front of a group of individuals looking to me for some kind of entertainment freaks me out.

Quick rundown on SKITCOM: SKITCOM was (and hopefully will be again) a free workshop where people could come in and write their own sitcoms. At first we discussed elements of a sitcom; they are funny, contain one liners, catch phrases, stereotypical characters, etc. Then we broke up into groups and wrote our own sitcoms. The only "rule" was that everyone had to take turns writing, everyone had to have a problem that was resolved in the duration of the scene, and no lines could be erased. The problems chosen from the groups ranged from no heat in an apartment building to slim dick disorder.During the first 15 minute session people seemed to be getting acclimated to the idea of writing as a group, taking turns, and just putting any nonsense on the paper. Some groups fell into a rhythm quicker than others. The real trick was to not care what you wrote and where it went. I did not want anyone to dominate the group. It was just for fun. The second session was 45 minutes and had no rules. By this time everyone was feeling more comfortable, which was awesome to see. After 45 minutes each group presented their SKITCOM. The groups wrote their skits on large pieces of paper that were then held up like cue cards. It was a blast!

Before the event I was nervous. I called Brandy (company member) and asked if we should just call it off. I thought no one would come. Really though I was nervous people would come. Then I would have to talk to them. Eeeek. You never know with free events. Some people are really gung ho, some have attitudes, some are just weird. My biggest fear was that people would not be into it. And, if you know me, I have a big chip on my shoulder about people with attitudes. You want to come into my theater and give ME attitude? I would much rather be watching a made for tv movie then giving up my free time to do something good for the community. F-U! Yup, that is pretty much how my thought process goes. So then, of course, I have already decided this is how the workshop will go. I am pretty defeatist.

People came, and people had fun. Everybody was happy to be there and everyone participated. People left saying how much fun they had. It was crazy. It is sometimes hard to put your own ideas out there and hope people will respond to them. SKITCOM was an idea that came out of wanting to do something fun at the Strand. I spend so much of my time doing the dirty work. I write the grants, and create email lists, and write press releases, and clean the theater, and paint the theater, and beg for money, book rentals, run rentals, etc, etc. I do things I don't always want to do, but have to do if this theater will survive. Sometimes even directing, the entire reason I started this theater, feels like a chore. I actually thought about not directing this year so I could focus on the admin side of the Strand. Miserable.

But SKITCOM was a release. It was fun, and it was silly, and people enjoyed it. Brandy, Danielle, and Kelly were my safety net for the event and it made me feel a lot better. The Strand is building a community of artists and when I get the chance to step outside my miserably tired bubble I feel like I can fly.

Sigh, but my bubble keeps me grounded, and working hard. It keeps me realistic about our goals, and it helps me lead others. But man, it is really nice to have some fun!

The Strand Needs You!

noreply@blogger.com (Strand Theater Company) — Mon, 05 Oct 2009 02:29:00 +0000

The Strand Needs You!

The other Strand board members and I have grown accustomed to wearing many hats. During the next seven days, I will play the role of publicist, house manager, clean-up crew, and ticket taker – all roles crucial to the operation of the Strand Theater Company. We wear these many hats with pride and we are not above admitting that we could use a few good people to help us out.

The Strand Theater Company is currently looking for a few good souls to join our ranks. Whether you are a painter, librarian, bus driver, doctor, lawyer, or mechanic, we have a role for you at the Strand Theater. Name your talent and we can put you to good use. Don’t have any talents? Then let us teach you a few.

Do you have a tight schedule? We have a variety of one-day projects or special events. Speaking of which, what are you doing on Halloween? The Strand Theater is putting on a Halloween special and you can play an important role in its production.
Volunteering at the Strand Theater Company is not all about work. As a company volunteer, you will have access to our private cast parties, you get to see shows for free, and you get to hob knob with Baltimore’s best. More important, volunteering with the Strand is a great way to support the community where the theater resides – the Station North Arts District.

Volunteering is also beneficial because:
Employers are more likely to hire the candidate with volunteer service
Volunteers live longer
Volunteers have lower levels of heart disease
Check out these benefits and many other at NationalService.gov.

If you think you might be interested in having a little fun, improving your health, and joining our cause, then drop me an email at mroberts@strandtheatercompany.org

Capturing the Emotions of Ben Harcourt

noreply@blogger.com (Strand Theater Company) — Thu, 24 Sep 2009 16:03:00 +0000

Using the tragedy 9/11 as the backdrop for the The Mercy Seat, one might think that the play would be a simple one-note characterization of sad, sad, and then a little more sad. However, that is not the case. While Neil LaBute chose to use 9/11 as the background for this story of 2 lovers presented with the opportunity to start fresh, the story is actually more about relationships, morals, and how far someone will go in the face of a tragedy, whether it be 9/11, or Hurricane Katrina, or any other apocalyptic event. As our Director, Danielle Young, pointed out to us very early in the process, it would be very easy to fall into one continuous, flat “level” in portraying the roles of Abby and Ben. That would make for a VERY boring night out at the theater, for both the audience, and for us as actors. When we really started digging into the script, and working the different sections of the play (it is basically a one-act play, with a single, hour and a half long scene), we found many other emotional qualities, including, but not limited to, humor, anger, sarcasm, self-loathing, and even several moments of tenderness. It is in fact, one hell of an emotional rollercoaster. To be perfectly honest, the process has, at times, left me feeling dirty. When I take on a role, I do my best to throw myself into it, head-first, and live the character. For me, that is the only way to appropriately portray a character. And while it definitely takes some time to wind down after rehearsals, or at this point, after a show, to me it is well worth it. While this play has had a different effect on each audience, I have noticed that by the very end of the play, there has been more than a sniffle or two to be heard throughout the theater. And as an actor, there's no better feeling than knowing you "moved" an audience.

A Director's Lunch Time Blog

noreply@blogger.com (Strand Theater Company) — Thu, 17 Sep 2009 19:01:00 +0000

You know what's awesome about being a director? I'll tell you. It's watching the audience's response to the show you directed.

You know what's completely terrifying about being a director? I'll tell you that too. It's watching the audience's response to the show you directed.
It was a very surreal experience. I had seen the show multiple times leading up to opening night, but it's a completely different experience when there are people seeing it for the first time.

There were moments that are (supposed to be) funny in the show, but considering the content, I was terrified that people would not laugh. I quite literally held my breath several times when I knew a funny or shocking moment was coming. After awhile, I forced myself to relax and just enjoy it...but it was hard.

Now that the show is open, I've had to let go of it. It's in the capable hands of my stage manager and actors. I can't change anything. There's no turning back. All of the decisions that I've made in the past two months are publicly displayed every weekend until the beginning of October. I can't guarantee that everyone will like it - though the feedback has been incredibly positive, from what I've heard so far. I am open to criticism and praise - I'm not sure which is better.

On one hand, I want to know that other people agree that this is a good show - because I firmly believe that it is. One the other hand, I want to grow as a director. I want to know what I can do to improve. What moves my audience? What angers them? Shocks them? Do they hate the dust all over the chairs? Do they find some meaning in the title of the show that I just didn't see? Because let's face it - even though I read and saw this show over and over for months, I still did not figure out every way to interpret every word. Between the actors, my stage manager and myself, we found several ways to interpret most of the moments - but there's always something else.

When it comes down to it, I want to be better. I want every performance of The Mercy Seat to be better than it was the last time. I want Brett and Kasey to go out with a bang every night. And I want you to be there. Yeah, you. If you're reading this right now, and you haven't seen The Mercy Seat, you should see it. I am confident in this show, and in the Strand. There's some great stuff happening - please come be part of it!

I Chose Directing.

noreply@blogger.com (Strand Theater Company) — Mon, 07 Sep 2009 06:20:00 +0000

I think I became a director totally by accident. In college at FSU I was planning on being a Sociology major. I ended up working on a production of Romeo and Juliet my first semester freshman year as a wardrobe assistant for credit in my Intro to Theatre class. The rest is history. Here I am, 6 years later, directing my own show. Theatre (namely the people involved) has a way of sucking you in. Once I started, back in the fall of 2003, I never looked back. I had a crazy schedule - up early for 8 am classes and falling asleep after late night rehearsals sometime around 2 am...IF I didn't have homework to finish (which I usually did.)

My life isn't so different now. I live in Rockville and work in Gaithersburg. I'm at work every morning by 8 am and in rehearsal in Baltimore 'til 10 at night. If I have a good drive, I'll be home before 11. Once I didn't get home until 3 am. I drive, on average, 2 and a half hours per day when I'm in rehearsal. In many ways, it's exactly the same schedule I had in college, which I guess is what makes it so easy. It's been a real challenge, though, to juggle the "real world" stress with directing a show that contains such stressful content. Don't get me wrong, I love this show. I love my cast and crew. I don't think I could have asked for a more fulfilling first experience directing post-undergrad. I think the stress is what makes it so great. I love finding problems and having to fix them. I love two week escapades to hunt for the right rug and table in thrift shops - only to have Jayme find a PERFECT table in Wal-Mart, of all places. I love pushing my actors to places that they don't want to go. I've gone to places that I don't want to go. I spent countless hours watching video clips from September 11 and 12, 2001, looking for appropriate video and audio to use for the show. Not the best way to spend a few Saturday nights...but that's what I did.

We hit the ground running pretty quickly. Finished blocking in a handful of days, had a series of difficult line rehearsals and some great character development work in the following weeks...and now we're almost to opening night. I've watched my actors transform into these other people. These complex individuals with so many problems, worries, hopes and dreams. There are age differences between my actors and the characters they portray. Making the decision to cast actors who don't perfectly fit the type written by Neil LaBute really wasn't all that difficult. I realized early on that it's not about their actual ages - it's about what they do on that stage. I wouldn't trade some of the "breakthrough" moments we all had for anything in the world. I don't know if it's like...watching your child take their first successful steps, or something cliche like that...but I'm really so PROUD of how far they've come. If the audience is moved, angered, shocked, etc. by their performances and the story, then all of our jobs are done. We have created, in the past two months, a great show. I hope that the community takes the opportunity to get sucked in by this show, and by the Strand. We're awesome!

A Word From Board Member Miller

noreply@blogger.com (Strand Theater Company) — Mon, 31 Aug 2009 15:01:00 +0000

The board and company of The Strand Theater spent the summer feverishly preparing to start our second season strong. We are very proud of the results.

The line up for our new season features five excellent shows. Tickets are available now for acclaimed playwright Neil LaBute's Mercy Seat; an adaptation of Edgar Lee Masters' Spoon River Anthology, Graves in the Water; the unique and witty [Sic] by Melissa James Gibson; Alena Smith's wild tragicomedy The Lacy Project; and Marina Carr's mythic play The Mai.

We're working hard to keep the lights of The Strand Theater on through what everyone knows is a difficult time for any arts organization. We will feature many community events, workshops, and other collaborations. Be sure to check our events page and our facebook page to see what we're doing throughout this exciting season.
We are excited to offer our patrons a new Flex Pass Subscription. This pass provides a season subscriber with 5 tickets that can be used anytime during the season for just $45.

Theater and the arts are alive and well in the heart of Baltimore and we look forward to seeing you at our upcoming events.

Negative Nelly or Ballsy Beeoch?

noreply@blogger.com (Strand Theater Company) — Thu, 06 Aug 2009 15:12:00 +0000

I recently revised the Strand's introduction on our website. Last year we introduced ourselves as a theater aware that we are becoming extinct. Theater is dying was our tagline. For many, this seemingly negative view on the state of arts was refreshing, dare I say inspiring? It opened doors for us. People seemed interested in meeting a company willing to shake their potential patrons into reality. We were warriors.

Negative thinking? A little. I was often scolded for my bleak opinion of things. I would catch myself back stepping. Things aren't so bad. Mostly I had hoped my blunt assessment would be a slap in the face. Please help us! An outsider rarely knows what the inner workings of a theater are. No one gets paid and we tirelessly work, and work and work. Not only do we reserve 15 hours a week to rehearsals, but then we paint sets, find cheap furniture and props, hang lights; and that is only the production side. Press releases, database management, grant writing, board meetings, patron cultivation, community outreach, even the task of writing this blog...ahhhhh! I sometimes ask myself, what is the point!?

I sit in the audience of the Strand and I realize what I am doing. Here it is. A group of individuals willing to bare their souls onstage and off. During a performance I want to be affected, to feel a connection with the characters. Sometimes I do, and sometimes I don't. In truth, there have been only a handful of times that a performance has really moved me. But when it did, I was changed. Like my meth addict neighbors, I need it so bad I cook it in my own basement.

The Strand is working towards its primary mission of equality for women playwrights. Theater is male centered. Most plays produced are written by men and about men. Women characters are reduced to shallow individuals. As artists, we have to reconcile these characters with the real women we know and admire. Art seems to be imitating a life we have fought relentlessly to change.

This season, three of our four plays are written by women. Female roles outnumber male roles 3 to 1. Will you miss the men? It will be hard to adjust. Luckily there might still be a few playhouses left in America featuring a predominantly male point of view. Wink.

Strandscape

noreply@blogger.com (Strand Theater Company) — Wed, 22 Jul 2009 17:51:00 +0000

When I told a fellow actor friend of mine last year that I would was asked to work on play at the new Strand Theater located at 1823 North Charles Street, the block between West Layfayette Street and North Avenue, he gave me a container of mace. A lot has changed in a year... I often walk over to North Avenue after a performance to Joe Squared Pizza or Cyclops Book Store... yes, on North Avenue. Station North is HOT and teaming with talented artists that are making things happen in Baltimore. It seems every week there is a new theater, gallery or cafe popping up in Station North. I feel like I am part of an artistic revolution, right here in Charm City.

I have been told that Artscape is the largest free arts event in the country, and it makes sense that this year this event has expanded, no, exploded into Station North. The rumor a few months ago was that there would be a stage outside of the Strand on Charles Street... how fabulous, and oh, how loud. Having a theatrical performance seemed like a bad idea. I was inspired to have something happen in our space, perhaps an art exhibit. I was further inspired after a photographer friend of mine was bummed to realize the cost of a booth at Artscape was way out of his financial reach. I offered him and a few other photog friends the theater for the weekend, free of charge to display and sell their works. I would coordinate this gallery event, complete with wine and sweets, air-conditioning and a with a clean bathroom. A bit of a reprieve from the steamy Baltimore City Streets. The only caveat for the artists was that they were not allowed to put any nails into out theater walls, they were use their creativity to display their fabulous artwork. They had a free space and the theater was not dark for a weekend, and I had no idea what to expect, since I had never taken on such a project.

The Thursday evening scheduled for load in and set up was under way, and to my disappointment there was no stage outside the Strand on Charles Street, it was one block south next to Everyman Theater. My heart dropped, but I remained silent about my disappointment. My artistic director, Jayme Kilburn put out a press release on the event, we announced the event on Face Book.. all my “friends” were invited, people would stop by... right? My artist friends turned the row house turned theater in to a fabulous art gallery in front of my eyes. I was thrilled for the weekend as I left the theater and drove home to bake many batches of brownies. Since Artscape spawned not only my “Strandscape” event, but also “Northscape” on North Avenue, I knew even though there was no band outside our space, there would be some foot traffic along Charles Street.

The energy of the weekend was amazing in our little block that could of 1800 North Charles Street. I was whisked away by Sherman, the owner of the new barber shop on the corner and was given the tour of his salon and his fabulous photography collection. The new Bohemian Cafe was packed with people indulging in cherry sodas, ice cream and the addictive curry chicken salad. The cafe had comics and musicians performing all weekend. The new ice cream shop across the street in the basement of the Station North Arts Cafe also is selling fabulous hand made jewelry. Within one hour on Saturday I met three musicians that played the ukelele. Where else does this happen, but Smalltimore? Artists and actors and new fans of the Strand filled our space and made me high from their appreciation of our space and exhibit. Most of our artists actually sold some of their fabulous pieces! It was truly a learning experience for all. The artists learned how to sell themselves, and their art. I learned the importance of making new friends in this neighborhood, that I hope remains my home for a very, very long time.

Hurray Station North!!!!! Hurray!!!!!

Being a Newb…and liking it

noreply@blogger.com (Strand Theater Company) — Sat, 27 Jun 2009 16:11:00 +0000

Hey-o! Lauren here. The “newb” (a term some would deem the new person on the block). I’m interning with the Strand this summer. Yeah! It’s great. Besides the whole bone-chilling haunted aspect.

The rather spacious theater space used to be an old row home. Hence the welcoming feeling you get when you walk in, as well as the pervading sense of dignity and grandeur.

And, apparently, it’s still a home.

One night while locking up after one of the rehearsals for the Strand’s Friends and Neighbors Festival, I felt a cold chill on my back, and a rustling at my side. Thinking one of the actors was behind me, and not wanting to look like I already didn’t know what I was doing, I flipped the lights on.

“I’m sorry!” I exclaimed.

“You should be” a gravely voice answered. It appeared to come from a shadow that slowly moved out of my line of sight at the top of the old polished wooden stairs leading back into our lobby.

Inky and black, there and gone- it was unquestionably a something.
A something with gall!

And I guess this, if I could bring this full circle, would be a perfect metaphor for working with the Strand.

So let me break this down for you.
1. The mere existence of a Ghost (or as I like to refer to it as- “Bob”).
A theater which isn’t allowed to take chances, throwing wide its door to local professional playwrights and their visions.
2. “Bob” ‘s sassy response-“You should be”
A theater with a strong backbone- a company of players that know what they’re doing.
3. “Bob” ’s disappearance
The fact that such talent can be snatched up at any moment- so better come and check us out before we disappear!

So asides from creating lame metaphors that don’t do enough justice, I’ve really enjoyed working with the Strand. I’ve been able to get hands on experience keeping tabs on all the playwrights and directors of the Strand’s Friends and Neighbors Festival. I’ve been lucky enough to sit in the back row of the audience, peering in on rehearsals, watching the nuts and bolts unfold into something living, breathing- passionate. I’ve been up in the booth manning the lights, watching out over my perch down into the lighted world, hearing the whispers and directions from the surrounding darkness- the masters at their work.

I understand this last blib was florid and cliché, but regardless. It’s a fascinating prospect- the idea of the play, crafted and formulated in the playwrights head, written down, taken to a company, inspiring a director to a vision of what could be, and enacting that vision through people. Brilliant. And to think I get to view a different gem each week- each different and equally pleasing.

I’m having a lovely time. Go Strand!

Translating Smolder

noreply@blogger.com (Strand Theater Company) — Wed, 22 Apr 2009 23:46:00 +0000

Two monitors face me as I sit at a small desk in my office/studio/bedroom. On the right, the monitor is filled with thumbnail images from the Smolder photo shoot. And on the left, this blank page that I have been staring at for the past hour. If I had my camera in my hand now, there are a dozen different photos I could take right this moment, just at my desk. Sharpies, paperclips, blank DVD's, a small green stapler and a half dozen scribbled pieces of notepaper are arranged in random disarray across my desk and softly lit from the glow of the two large monitors. Yes, I can see several good photos!... If my finger was as efficient poking away at the keyboard as it was on the shutter button of my camera, I could have written a short story by now. But I am a photographer, not a writer.

I didn't always know that I was going to be a photographer. I went off to college to become an aerospace engineer and finally graduated with a business degree. But instead of climbing on to the bottom rungs of the corporate ladder I decided to join the Peace Corps. And on a small island in the South Pacific I discovered it... Well, sort of. The road to self-discovery is a long one, and I've proven myself to be an exceptionally slow student at times. If asked at the time what I wanted to "do" with my life, I would have been hard pressed to come up with an answer at all, and despite my budding passion for photography, it never crossed my mind that I might one day be one. I was living in the South Pacific. It was a beautiful place. Everyone was taking photos! We were all recording this once-in-a-lifetime experience.

But this is what I now realize with the benefit of hindsight: I wasn't just recording moments with my camera. I was was beginning to find ways to translate those moments to film.

Take for example the typical birthday photo: "Make a wish and blow!"... Click/Flash... A moment recorded forever on film... Then, 15 years later you flip though the photo album with friends and family and laugh at how young and silly you look. And the photo will probably bring back many memories for you. You might be able to recall from the photo everyone who attended the party, and that particular white elephant gift that your best friend re-gifted to you, and possibly even the flavor of cake...

Now show that same birthday photo to a complete stranger and ask them to make some observations. What kind of story will they be able to create from the photo? While it may be obvious that it is a birthday party, will they be able to figure out how you were feeling at that moment? Can they guess what you wished for just before blowing out the candles?

I like to think of it as the difference between recording history and creating art. History, like a snapshot photo, records the human condition and allows us to remember; art on the other hand translates the human condition into all sorts of forms and allows us to experience and feel...

Theatre is so interesting because there are so many levels of translation going on. From the playwright who translates the human condition into an original script, to the director who then translates the script into a vision for the stage, and then the actors who each translate their character and brings them to life on stage. The list of course goes on.

Three weeks ago I got to play my own part in the theatrical process when I arrived on stage to take press photos for Smolder, which opens today at The Strand Theatre. I've been taking theatrical photos for over three years now and I love the challenge of translating live theatre to a static image. I never approach a photo shoot with the idea that I want to simply tell the story in photos. My goal is to try to capture the "essence" of the show visually. Part of the joy is that this is such a collaborative process. I like to work with the actors and directors organically, inviting serendipity to play its role. Instead of setting up posed scenes, I often prefer to let the actors run the scene so that I can get a feel for the rhythm and emotion. Sometimes I'll go back and modify the blocking to suit the crop that a camera imposes on the scene. Other times I will challenge the actors to forget the blocking and even the script all together and just focus on their emotions. Like any collaboration, there is a great feeling when everyone gets in sync. And when it happens, I know the photos are going to translate without even looking at the back of my camera...

As I glance one final time at the monitor on the right and scan the collage of thumbnails from the Smolder photo shoot, I realize that I have come a long way from that small South Pacific island. But that is where the translation began.

I Heart Sylvia...

noreply@blogger.com (Strand Theater Company) — Wed, 08 Apr 2009 00:52:00 +0000

Love is probably the most prevalent theme in the arts. It's very simple.. it's basic... it's something we all search for in our lives from the moments of birth. When a child is not held or touched... this affects their development tremendously. Love may be basic, but as we all know too well, it certainly isn't simple.

I have always wondered about the phrase “falling in love” You FALL not knowing if there is a net to catch you or if you will plummet into a bottomless pit. It is a risk – you can be rejected... crushed.An actor can fall in love with the character they portray. Recently I have fallen into a blissful state of love with my latest character, Sylvia.

In the production at the Strand, Julie Lewis's “Smolder” uses unrequited love to be the theme of the play. Reno, a building superintendent is in love with Sylvia. She is a narcissistic, beautiful woman who is obsessed with appearance and what is socially expectable. Sylvia has a boyfriend named Richard, however, she is not in love with him. They have fun... they play the “charming, cynical cosmopolitan couple.” He has money, associates with high profile people which enables them to climb the social ladder together. Tragedy strikes and Sylvia is burned and scarred, leaving her face disfigured. She becomes depressed, hopeless and convinced the world will not except her if she is not beautiful on the outside. What she begins to realize is that she was not beautiful on the inside when her skin was flawless and radiant. She was a cold hearted bitch. Sylvia regrets not responding to Reno's former affection and begins to fall for him, but Reno begins to resent her. Well, timing is everything and they never seem to be equal on this see-saw of love, where either he loves her and she rejects him.. then she loves him and he rejects her..

I portray the version of Sylvia post accident, loathing my past self and trying to paste my life back together. Depressed and in pain clutching onto loving a man that can't stand her. When I work on a character, it takes me to deep places.. however being aware of my reality and the life of the character is something to hold onto. You cannot help to pull colors out of your emotional paintbox that resemble the hues your character possess. I personally have had a few nightmares during the rehearsal process of being burned and having my face melt away. Like Sylvia, I know what it is like to have my heart ache and broken. In life when we experience tragedy or loss, it is very important to process this, but eventually find a way to pull yourself up and use the pain as a gift to enhance your life. Working on a character that is depressed forces me to delve into a dark abyss for a performance... to viscerally experience the pain and heaviness of melancholy. But the craft of acting allows one to bounce back and pull out the bright and happy colors that make up who I choose to be in my real life.

Being on stage can be a very risky emotional place. It is where one can be open and vulnerable and touch emotions that we may chose to suppress in real life. And there is no net to catch an actor.. we hope to fly on stage, and not need a net. As an actor you need to learn to love yourself.. create balance and be aware if your character is becoming too much a part of your life. One should be able to work a scene that is horrific and tears out your heart.. and with a simple exhale... let it go. Sylvia has been a wonderful part of my life, and I want to thank Julie Lewis, for creating such a complex character.

How and Why Do I Do This?

noreply@blogger.com (Strand Theater Company) — Wed, 11 Mar 2009 13:56:00 +0000

I recently completed a play at Theatre Hopkins and one of the folks who reports to me on my day job came to see the play and his girlfriend asked me “How do you do this and have a family and be successful at your day job”? Those who have seen my office which has a huge volume of pictures of my wife and kids, and pictures the kids have drawn know that my family is the number one item in my life. They bring me such joy and they fulfill my heart! For my career, I am a business manager at Northrop Grumman in Linthicum, and I am blessed to work with many hardworking and intelligent people, and I work on many exciting programs. This work keeps me mentally stimulated every day. So this fulfills my intellectual needs! So why do I do this? Because theatre fulfills my soul!! I was away from the theatre for many years while I focused on my family and career. But there was also a piece of me that was unfulfilled, as I love to perform, whether singing or acting in a play or both! This had been my ambition earlier in my life, but life does not always turn out the way we planned. So one day a little over 4 years ago, my wife said that it was probably a time in our lives when I could try and get back into the theater. I have been fortunate to have done about 7 plays since then, and to be asked to be a resident actor here at The Strand Theatre where I am doing my second play here called “Smolder”. So this is how I came to do this because it fulfills a need in me. Why do I do it? I truly enjoy the collaborative nature of the theatre, watching a play from the beginning of rehearsals where we all wonder if we will ever learn our lines through the actual performances. It is a wonder to have an opportunity to bring a character to life, to lift it from the written page and make it alive!! And there is joy in having the director help you and the other actors make all of this mesh into a cohesive concept. And you will have the director or another actor give you an insight to your character that you didn’t see before. I know my hardest part is learning the lines but once they are learned then I can focus on the external items which help bring the character to life and see if I can find the soul of the character. I know for me that it is much easier with silly comedies or outrageous characters versus more dramatic or straight characters. For Smolder the character is written as 30s, well- off and effeminately handsome! Well I passed 30 a while ago, and being the short average looking person that I am, this characterization requires a stretch. But that is what makes it fun! I really like working at the Strand as since it is a new theatre with very few resources, then the company has to pull together to make it work. This may mean providing your own wardrobe and props, and trying to get the word out on the productions. But that means we have to work together as a team, which is always such a pleasure in any endeavor. Is it worth all of this effort? To work a 10 hour day, then drive 25 minutes home, make dinner if my wife is working late, help the kids if needed, and then drive 30 minutes to the Strand for rehearsal. Oh yes, it is so worth it! It is worth it for a few reasons: 1) the joy I get from performing, 2) the pleasure working with the company to put together the production and 3) I have been fortunate enough to have worked with some unbelievable actors and to be able to watch them night after night is a wonder to me. So as long as the family does not think the time put into the theatre impedes their lives, and as long as a director is willing to cast me, I will do this over and over again.

What's Your Age Range???

noreply@blogger.com (Strand Theater Company) — Tue, 10 Feb 2009 19:56:00 +0000

Often times, when filling out random forms we find ourselves checking off boxes that correspond to our age. We may be filling out an application for a running race, completing a marketing questionnaire or a sex survey in Glamour Magazine, perhaps. As an actor, you are asked by a casting agent or during an audition, what is your age range? This rarely coincides with the age you actually are, and can be very hard for an individual to determine for themselves. Look at some Hollywood faces next time your scanning People magazine and with botox injections, microdermabrasion and little nips and tucks here and there…they become ageless, and some even stop looking like themselves.

I recently turned 40, without any anxiety over a new decade. But have been asked by many people, how do I feel and boy, it must have been difficult... It's usually the ninth year of a decade that causes anxiety for many people. I truly believe age is just a number and it is how you feel and project yourself to the world that matters.

A few years ago I was interested in auditioning for a role that was listed as a woman in her early twenties... I called one of my acting teachers asking his opinion on the matter. “Well darling, it all depends on how far the stage is from the audience, and of course your makeup and lighting,” was his response. I was cast in another play when my chronological age was 38 and my character was 23. My leading man had a chronological age of 21, and we had a kissing scene. Yes, I had my cougar moment on stage.

The next production at The Strand, which opens in April is a play called Smolder, written by the fabulous Julie Lewis. The story is about a woman named Sylvia who becomes disfigured in a horrible accident. The play takes place in two points of time, before and after the tragedy. So there is Sylvia 1 (before), and Sylvia 2 (after). Two women cast as the same person. This can be a challenge for a director, giving them many possibilities in casting. Do you find two actors that have the same look, or does that even matter? I have the privilege of playing Sylvia 2, and the wonderful Megan Rippey is
cast as Sylvia 1. Do we look alike? Maybe we could be cousins. Are we close in age? Not at all. Megan is in her early 20's and I am, well, I already mentioned that. But it shouldn't matter. That is the beauty of theater and creating this magical reality on stage.

Being an actor gives you the opportunity to lie about your age. Embrace it!!!!

Noah Galuten interviews Noah Galuten

noreply@blogger.com (Strand Theater Company) — Fri, 30 Jan 2009 16:57:00 +0000

Baltimore!

Hey, everybody! We’re out in Baltimore, Marlyand to cover the opening of Noah Galuten’s new play Bermuda premiering tonight at The Strand Theater and running through February 15th. Luckily, we were able track Mr. Galuten down for an interview about the play, his thoughts on the world at large and the Baltimore dining scene.

NOAHGALUTEN.COM: So Noah. Thanks so much for taking the time to talk to us.NOAH

GALUTEN: Yeah, of course. Thanks for having me.

NG.COM: Have you had a lot of plays produced before?

NG: No, this is my first real production. I had some plays produced in college and have done some nice readings and workshops, but this is the first legit production.

NG.COM: Wow, that’s great. How does it feel?

NG: Really good. I’m really excited about it. It’s always bizarre to see something like this come to life, and especially since I live in Los Angeles and wasn’t part of the production at all. So you’re just kind of showing up and seeing it in its totally completed form, without any idea of what it’s going to be like.

NG.COM: I was just going to ask you about that. So you weren’t part of rehearsals at all?NG: No, I wasn’t. But Jayme [Kilburn], the director, is really talented and I had all the faith in the world in her that she’d do a great job.

NG.COM: So you’re not nervous at all about the production?

NG: Um, a little. [Laughs] You’re always going to be a little nervous. I don’t know if that goes away.

NG.COM: Right, right. So is this play, which prominently features two brothers, does it come from any real experiences? Is this based on anything?

NG: No, no. People always ask me that. But no. I made it all up.

NG.COM: Wow, like a writer.

NG: Yeah. [Laughs] Exactly.

NG.COM: So who are some of your favorite playwrights? Who inspires you?

NG: Um, I take some inspiration from all over, I guess. But Edward Albee was a big influence on me starting out. Obviously, Shakespeare’s pretty good too. I know it’s an easy answer, but Hamlet [by William Shakespeare] is pretty hard to top.

NG.COM: Yeah, of course. Were you a big reader growing up?

NG: Definitely. With great detriment to my social life and skin pigment.

NG.COM: Inside a lot.

NG: Pretty much.

NG.COM: Well, we know you’re also a big food person. Did you have a chance to have any food out there in Baltimore?

NG: Yes. I’ve been here for a full day now. So, yeah. It sort of becomes necessary. But I’m excited to keep checking it out for a little bit.

NG.COM: Right, of course. Well listen. Thanks so much for taking the time to talk to us. We really appreciate it.NG: No problem. Thanks again for having me.

Stage Managing 101

noreply@blogger.com (Strand Theater Company) — Thu, 22 Jan 2009 19:23:00 +0000

I have known that I wanted to be a stage manager since I was sixteen years old. That very first day that I walked into my acting class and started learning about theatre was an amazing day and life changing. Until that point in my life I had always wanted to be a teacher like my mom. I knew that I loved helping people and I wanted to do work that changed other peoples lives. My high school drama teacher, Mrs. Lehman, was the most amazing, helpful, and creative person that I have ever met. She taught us about the theatre from it's history to jobs in the field. That really blew my mind that I could get paid to have fun and do what I love. I have never been one to want to sit in an office all day so I decided then and there that THEATRE was my career choice. That was head turning for a lot of people in my family and with my friends. But, the great thing about theatre is it becomes your family and it is where you make most of your friends.

After graduating high school I planned to attend Villa Julie College (now known as Stevenson University). My mother would not let me major in theatre since she didn't think I could make a career out of it and live. So I majored in business management, the thing I never wanted to do and here I was taking courses in it. After a horrible first semester to the point where I made myself sick from stress and worry my mom said that I could change my major! What another great day! I must say that Villa Julie College has the best Film, Video, and Theatre major in the world! It's small enough that you won't get lost in the crowd and yet big enough that the opportunities are endless. Of course I'm a little bias.

I took flight in my new world and have had experiences in every aspect of theatre. I have done lighting, sound, costumes, props, set building, stage managing, acting, front of house personnel, and my favorite strike.

Being a stage manager takes a certain type of person. You have to be willing to put in as much time as the actors or maybe more. You are at rehearsal every night, sending emails about rehearsal, meeting with the artistic crew and director, and finally taking over the show when it opens. That I feel is the best part because the show literally becomes your show. You are calling all the shots and taking care of the actors and crew. The director is no longer around telling you what needs to be done. You have to know and understand what it takes to make or break a show. Most of the time you have keys to the theatre and areas in it. Responsibility is key and organized is another thing that I think you need. Being friendly with the director, cast, and crew is also important because you might have conversations with the director and you need to know what to keep to yourself and what to tell other people. Actors and crew should be able to come to you with problem whether it's a costume change or a dispute between another member. Coming into a new theatre and group of people you have to earn that and respect it. Another favorite thing is when the stress is high you're in the middle of the show on opening night and the lead can't get her dress to zip up, what do you do? Pray that you have enough time to safety pin the hell out of it and hope it stays closed till she has a costume change. Those are the moments I live for, its character building.

Since becoming a part of the Strand Theatre last May. I have loved every minute of it. To have a theatre that you call your own and working with such wonderful people is great. Though I dream of Broadway the Strand will always be my first professional theatre.