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The Pillowman posted:I'd recommend seeing Nine only for Marion Cotillard. The plot is just as jumbled and Daniel Day-Lewis isn't likeable enough to pull the show together. Costumes as always are beautiful. 39 Steps is a great comedy but I just wanted to say your username is one of my favorite plays of all time.
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Mar 19, 2010 04:05
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Leaf Coneybear posted:This semester I'm playing Iago in Othello, and directing Mamet's Oleanna at the same time (a brilliant idea). Othello goes up in four days, and Oleanna right after that. Someone save me. I loving hate Oleanna; I've now seen it 4 times and I'm absolutely convinced that there is no way to stage the play where the audience will give a poo poo about either one of the characters. It is Mamet at his most bitter and least creative. That said, good luck! Let us know how it goes.
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Nov 13, 2010 00:10
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beer_attack posted:I believe you mean, "break a leg." He said he's directing, so good luck is approriate. Break a Leg is only for actors 
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Nov 14, 2010 00:30
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antiloquax posted:Telling your snooty cast "good luck" before opening night is one of the best things ever. Only if they're snooty, though. It's because you were working with bad improv actors. Seriously. Good improv actors understand all the tools needed for good acting and are like smart, creative actors that are completely unafraid to take huge risks during the rehearsal process and even on stage. Unfortunately, Chicago has several schools (coughSecondCitycough) that are essentially diploma factories and will churn out "improv actors" regardless of skill or talent. The result? A lot of terrible actors calling themselves "improv actors". But don't let all the poo poo distract you from improv actors as a group. They're incredible people to work with if they know what they're doing.
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Nov 14, 2010 00:33
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My show opens tonight! It's a stage version of Around the World in 80 Days and it's a total blast. There are 12 of us juggling 93 characters (I have 13 of them myself) and I can't wait to see how the audience likes the silliness of the show. It's also, surprisingly, the first kid-friendly show I've done in forever, so we'll see how that goes 
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Nov 18, 2010 14:29
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antiloquax posted:At least three people are going to want the whole script While I definitely understand why this annoys you, having the whole script to see is a *huge* help when auditioning and a lot of teachers will tell their students to find the whole play by any means necessary before auditioning for a show. If I'm ever holding auditions where the whole script isn't avilable (because of rights issues or whatever) I make sure to put that in the notice; otherwise, people are going to want that leg up over their fellow auditionees. quote:Anybody have any suggestions of how to convert lines to action and movements a la dance? Anybody know any authors to read who have done something like this very well? The only one I know of is The Hour. In my mind great physical theatre starts with Commedia Dell'Arte. Stock characters are used in a variety of humorous physical situations and the majority of the action is entirely physical (you also work with masks, which is hugely liberating from a character and movement standpoint). I know you're doing music theatre and you're trying to do dance stuff but the *conventions* of Commedia are a useful starting point, and using masks (if that's a possibility for your scene) helps highlight physicality and body-emotional responses to events on stage. But I like your thinking; what you're doing sounds really ambitious, especially for a class.
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Nov 18, 2010 21:30
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antiloquax posted:See, that's a reason I can get behind. I guess I've become cynical and jaded over the past couple of years (I'm guessing it shows).
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Nov 18, 2010 22:23
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El Tortuga posted:you might as well not do the show at all If wishing made it so!!
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Nov 19, 2010 16:22
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3 cuts? What is this, a movie casting? drat. Congrats on your success, though
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Nov 22, 2010 17:40
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Pious Pete posted:I made a similar plea in another thread a LONG time back, but on a related note, if anyone knows of any good 15-30 minute One-Act plays they think would work well in series of 5 or 6 or so, PLEASE let me know. I'm the festival coordinator at my school again next semester and constantly in search of good plays to help even out dynamics. I'd even be interested in self-written stuff. Thanks a ton. It's a bit of a cliche because "everybody does him" but have you tried David Ives' shorts? There's a collection of them called All in the Timing and it's worth your while because the plays are funny, short, and sharp. T-Bone posted:LIVE IN YOUR MOMENTS AGGGH I think staying fresh and present in touring productions is one of the hardest things to do in the entire business of acting. Hell, I've worked in repertory at summer stock companies with 3 plays going at a time and it was still hard to stay fresh; doing the same show again and again in a different city every couple of nights is murderous. That said, it doesn't excuse lazy acting.
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Nov 29, 2010 17:43
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Meeting with an agent today. Fingers crossed!
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Nov 30, 2010 16:05
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Gray Talent. Would be a good get if I can swing it.
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Nov 30, 2010 21:06
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antiloquax posted:I think I'm auditioning a few of their clients on the 12th. Looks like a good agency, especially compared to some of the others in Chicago. Probably. Dawn used to work with Encore, I think, but she split off to form her own group and she works really hard for her people. I also have submitted a couple of times to: Geddes Stewart Grossman/Jack Aria Encore Shirley Hamilton but Gray is the only one I had a connection to (a teacher of mine) and thus a chance to get in the door. Getting an agent is a real pain in the rear end!
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Nov 30, 2010 23:23
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The comparisons are going to be unavoidable amongst people who are aware of the existence of both shows, I think. Which sucks, but look on the bright side: go see the other play, and if yours is better then you can say to everyone that you out-wrote an Emmy winner! That said, sketch comedy is full of basically similar ideas. When the Rod Blagojevich thing happened I must have seen 15 different revues in town built around the story, most of which probably had the exact same jokes. I wouldn't worry too much about it. Where is his taking place, and where is yours taking place?
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Dec 1, 2010 17:31
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The nice thing about working at Gorilla Tango is the bar is set so low that simply putting on a functioning show puts above at least 50% of the things you're going to see there, so if your show is even in the neighborhood of the quality of the Annoyance show I think you'll probably be very successful. Assuming you market the show well . . . I don't know many people who see something at Gorilla Tango on a whim or "just passing by"
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Dec 1, 2010 21:32
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Leaf Coneybear posted:So since I'll be getting my BFA next semester, I'm naturally terrified of where to go. I'm probably leaning towards Chicago, but I was just curious if anyone here was operating out of the big cities and, if so, if you had any advice on how to make the rounds. Yes, I think we can probably help out with that What are your long-term goals? Be as specific as possible with this. Also: what medium (stage, TV, film) do you prefer working in?
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Dec 2, 2010 21:46
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Hey antiloquax, when is your show? If I'm free I'd like to try and make it; most of my sketch comedy friends haven't been doing a lot lately and I'd love to see some comedy with the new girlfriend.
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Dec 6, 2010 18:56
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Nice, I can't make this Thursday's because it's the last weekend of my show. Maybe next Thursday . . .
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Dec 7, 2010 16:02
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Formal training doesn't matter for poo poo if you've got game. Or if you don't got it, for that matter . . . nobody I know is going to say "Well, I wasn't going to cast her because she can't act/doesn't type correctly/seems like a pain to work with, but it says here on her resume that she went to the Rutgers MFA Program so let's give her the part!" That said, professional training will make you a better actor so I recommend doing it, focusing especially on areas of weakness for you. EDIT: And to answer your question, don't worry about what you've done before. Michael Caine was a filing clerk and an ex-soldier in (I think) the RAF when he got his start. Amount of formal training: 0. OSheaman fucked around with this message at 20:58 on Dec 9, 2010 |
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Dec 9, 2010 20:56
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antiloquax posted:Also, the show I'm currently doing is really falling victim to its opening twenty minutes. They're really not funny enough to be in a show people are paying to see and by the time the funny forty minutes come along the laughter's been stifled. A complete lack of energy from half the cast probably isn't helping, either. I recommend liquoring the audience up beforehand. Works for me every time!
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Dec 13, 2010 16:43
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Leaf Coneybear posted:Well almost all my experience is stage work, but we take two on-camera classes for our BFA program. Honestly, I'm not one of those people that says "broadway or bust"... to tell you the truth, those people annoy the gently caress out of me. Of course, I want to get as far as I can, but if I'm in a good-sized city doing challenging, good work at a respected theatre, and making a living that's comfortable enough to get rid of the need for a day job, I call that success. And even that goal is lofty in this business. Making enough money for a decent living from live theatre is very, very difficult to do. If you're successful in New York, *very* successful in Chicago, or willing to travel around regional theatres and with national tours then you can maybe make 30-40k a year from theatre--and this is if you're constantly working, all year long. Obviously there are exceptions to this rule but it's mainly if you turn into a megastar in the Broadway musical scene (think Nathan Lane) and you can make millions that way. Everyone else either augments (or tries to augment) the theatre work with commercial/film/TV or else accepts that they will have to make some of their money from either teaching or some other side job. That said, if you're comfortable with an end goal of 40,000 a year and/or you have no problem teaching or maybe working some small side job to get all the bills paid, you have a nice range of opportunities. Chicago is a fantastic theatre city and is especially friendly to young actors who aren't Equity yet and are looking to do professional theatre. Minnesota's Twin Cities also have an awesome theatre scene. San Francisco, Austin, San Diego (you'll be competing with LA actors for some of the bigger stuff here), and Washington DC (competition with new York actors exists but only for the bigger stuff) are all other good mid-to-large-sized towns with strong theatre scenes (DC's is more of a theatre/TV hybrid but still not a bad place to get started). Eventually you'll start getting a feel for what you really love (whether you want to stay in one city and do the work there, or travel around and work different regional theatres, Shakespeare festivals, and things like that) and you can focus your training, networking, and money into pursuing that dream. For what you're talking about ("doing challenging, good work at a respected theatre"), you have to realize that very rarely is challenging, good work going to pay the bills for you; that said, your best bet for steady work and the chance to really explore artistically is to join or form a theatre company. Most of the theatre work in Chicago and much of the theatre elsewhere is done in companies with a core group of ensemble actors; this is your best way to have a steady supply of shows and to get the chance to do the work you want to be doing. When you decide where you want to go, the next step is to get yourself in the scene, and the only way for this to happen is through hard work. So many students come out of school with a head full of craft knowledge and next to no business knowledge, and they get frustrated when you learn that you have to put in the work to actually advance your career. It's really tough! You have to meet people and get people to start to know who you are through any means possible--attending industry nights of shows or opening nights (and schmoozing at the post-show banquets), going to staged readings or readings of new plays (or, even better, volunteering your time and being part of those readings), SEEING THE THEATRE THAT IS HAPPENING IN YOUR CITY (this is so important--so many people want to be in the scene but aren't actually seeing what's getting put on!), taking classes (another biggie, although this one costs money so you need to be careful and judicious--choose good classes from studios with good reputations that are likely to further your career by developing your skill set and giving you the chance to get to know your teacher, who ideally is heavily involved in the scene themselves), going to industry events/fundraisers, reading the local columns and following the news in your city, etc. etc. You have to do this constantly and keep up the pressure--I like to set a rule of thumb of "At least once a week I have done something to advance my career"; whether it's submitting for agents or for a specific company, meeting with/corresponding with someone important in the scene, going out for a big general audition--something. Keep yourself active, focused, and driven while continuing to hone your skills and eventually you'll break into whatever scene you want to be a part of. And don't forget to be having fun along the way! That sounds really corny but the fact is that it's going to take a long time for you to hit your goal and you're going to hear a whole lot of people tell you "no" along the way, so make sure you're living your life and having as much fun as you can while you pursue your dream. Make friends, have fun hobbies (as long as they don't interfere too much with your main hobby/career), eat good food, have awesome experiences. As camp counselor as this sounds, your singleminded drive for acting nirvana isn't going to keep you afloat during the lean years of your career--it's the other stuff that keep you going. Acting is the destination, and for a long time you're probably going to be living the journey, so make sure you're enjoying it or you will burn out very quickly.
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Dec 14, 2010 18:31
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If people try to shut your play down it will literally be the best publicity you could possibly hope to get. Nothing excites college students more than someone trying to Limit Our Free Speech and if you make a fuss about it you can get a big public debate going. I realize this sounds mercenary but conflict sells.
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Dec 14, 2010 22:59
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Golden Bee posted:What's the best way to option off my children's play (previously posted)? I don't imagine I want to charge a lot of money to perform it (probably a nominal $25) but I want it to be widely produced. Have you had a "succesful" production of it with an established company? Most of the new plays I hear about around here get published after they have a good run at one of the established theatres, who will usually help you out with finding a good publisher/distributor.
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Dec 15, 2010 17:42
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El Tortuga posted:Just to quickly vent to a non-biased group of theatre people: If my town's theater doesn't hire me as Artistic Director, I will lose my mind. I'm earning my degree in just a few months, which will already make me more qualified than the theater's EXECUTIVE Director. I have qualifications and recommendations out the rear end in a top hat. Plus, as much cash as the theater is bringing, they desperately need some fresh perspective. Dunno how big your theatre is but often times the AD is so busy fundraising and dealing with administrative bullshit that he/she doesn't get the chance to actually direct any shows!
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Dec 20, 2010 23:36
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El Tortuga posted:It's pretty big, all those duties fall under the Executive Director. The job of the AD would be direct the artistic vision of the theater, which it needs. Your artistic vision should be "How many times can I actually get away with spraying the audience with blood in this production of Titus Andronicus?" That's basically how Steppenwolf got started, could work for you too! 
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Dec 21, 2010 18:47
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And that, ladies and gentlemen, is exactly the attitude you should have each and every time you stage a Brecht play.
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Dec 27, 2010 17:34
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I would love to read it; I'm not really a playwright but I'd be happy to give you an actor/director's point of view. Shoot me a copy at nrshea AT gmail DOT com and I'll give it a read
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Dec 29, 2010 16:14
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Fringe Festivals rock. And Golden Bee, I'm reading your play now EDIT: Finished reading Golden Bee's play, and it's loving awesome. Very funny, with excellent pacing and hysterical characters; if anyone wants a fun read ask him to forward the script your way, because I had a blast reading it and now I want to put it up in Chicago somehow. OSheaman fucked around with this message at 18:41 on Dec 30, 2010 |
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Dec 30, 2010 15:42
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I was in a production of Mr. Marmalade! Oh, memories . . . antiloquax, I was planning on passing the script for Golden Bee's show around to some of the companies I know in town, but if you're interested in putting it up I can hold off for a little bit. I know you're working on your Daley show at the moment but (from what little I know of your work) this play might be right up your alley. Send me an e-mail or something if you want to take a look at the script: nrshea AT gmail DOT com.
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Jan 3, 2011 18:08
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I'm reading your other play now. I have to admit, though, that with the comic book movie craze (not to mention Dr. Horrible's Sing Along Blog which all of my friends are loving obsessed with) I've been a little bit burned out on the whole Superhero theme, so this one may not be my cup of tea as much as the other one was.
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Jan 3, 2011 19:10
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Red was on Broadway last April and DPS is already licensing it? Crazy.
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Jan 6, 2011 18:48
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Chicago, the best theatre city Also Lieutenant of Inishmore is a great play and is probably better for the strict "dark comedy" thing you're going for but do not let yourself start reading Martin McDonaugh without hitting The Pillowman; it's IMO his best work and one of my all-time favorite plays.
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Jan 7, 2011 17:17
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Wolfgang Pauli posted:Does Chicago have any grad schools that are interdisciplinary? I'm looking for an MFA program, but I don't want to have to choose between directing and writing and technical work. I don't know the answer to this as I haven't really done much research into grad schools, but if I had to guess I'd say your best bet might be with Columbia College. They have a bunch of incredibly diverse MFA programs and I think you probably have a better bet there than a more traditional program somewhere else.
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Jan 9, 2011 08:30
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Isn't Last Five Years pretty vocally challenging, anyways? I'm not a music theatre junkie so I don't know my JRB as well as I should.
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Jan 10, 2011 21:37
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Geekboy, your town sounds suspiciously like Charlottesville, Virginia. You don't live there, do you?
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Jan 11, 2011 19:02
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If it's Westboro Baptist Church don't bother arguing. They're well-trained in what they are and aren't allowed to do because they know there are literally thousands of lawyers ready to descend upon them and their church if they make a mistake.
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Jan 11, 2011 23:28
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Yeah, there are already places in town that will let you put up shows for free or dirt loving cheap, so it's a question of the quality of the house and what sort of work you'd be doing.
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Jan 14, 2011 21:31
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Charles Dickings posted:Sadly, though, Columbia's theater department doesn't have a grad program at all. Northwestern and DePaul are two good theater programs in Chicago, though I'm afraid I don't know much about them. Wasn't he saying film? I thought the film department had a grad program.
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Jan 17, 2011 17:11
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I don't have the focus to do a lot of method stuff; I make broad, big choices to start out and refine over the course of the rehearsal process. It's an instinctual thing for me, and I feel a lot more "real" with the character at the end of that process than I do working on backstory and sense memory and creating a past involving the shampoo the character used when he was 5 years old. That's just me, though; I've worked with a lot of talented people who would come into the first readthrough with pages and pages and pagesandpagesandpagesandpages of notes about their character. My only gripe is with people who come in with an ironclad idea of their character and refuse to let rehearsal or direction shape that image at all. Everyone's worked with someone like this before--usually it's an amateur actor who doesn't understand how to rehearse well, but sometimes it's someone who's gotten quite far in their career, or--God forbid--has achieved real fame and thus feels like their process is Perfect And Doesn't Need Direction.
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Jan 27, 2011 15:54
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You mean "Emmy Award-Winning Actress Debra Messing"
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Jan 27, 2011 16:58
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