Author: Thtrthts

Guides and Tips

20 Life Hacks for an Easier Tech Week

Posted on by Thtrthts

I’ll admit it: I enjoy tech week. I find the adrenaline rush of such a busy week absolutely thrilling.

One of the reasons I enjoy it so much is because I have learned a lot of tips and tricks over the years for making it the best experience it can be! Instead of spending the week bogged down in stress, try out these hacks:

1. Make sure you know your material before tech week starts

Tech week is not the time to be learning lines or blocking! Do all your cramming before tech week– tech week will be stressful enough without the added worry of feeling like you forgot to study for an important test.

2. Plan ahead with meal prepping

It’s a huge relief to know what you’re going to eat when you get home from the theater. This is doubly true if you’re juggling a hectic work-rehearsal balance. Make some food ahead and separate it into perfectly-sized, re-heatable portions. Depending on how busy the week is, you might need to plan both lunch and dinner. Pre-packaged frozen options that you can simply pop in the microwave are also a lifesaver.

If you don’t plan ahead, you’re more likely to wind up paying a lot of money for overpriced gas station or convenience store fare. Plan out your meals, and plan out your snacks, too!

3. Put together a “tech bag”

I like to keep a tote or duffle bag stocked with everything I need to make it through tech week. This will include any necessary items for the show, as well as anything I personally need to be healthy and prepared. I put this together before tech week begins, so I don’t have to worry about it later. Some suggestions:

  • My script/libretto
  • Necessary costume pieces
  • Bobby pins, hair ties
  • Makeup bag
  • Deodorant, hand sanitizer, wipes
  • Mouthwash and floss
  • Bandaids
  • Reusable water bottle

Depending on the needs of your production, your list will probably look quite different, but this is a good starting point.

4. Finish any important projects in advance

I’ve been the person who says “I can just finish this homework assignment during tech week.” Subsequently, I’ve also been the person who fails a class because they didn’t turn in a homework assignment that was due during tech week. (That’s a long story…)

If you have any big work or school projects coming up during tech, get them out of the way before tech week begins, or else get them as completed as possible. You really want to be able to dedicate as much time and energy as you can to tech week– I often find that tech week just demands so much of me, that trying to make time for much else rarely goes well. You never know what might come up.

5. Work on your sleep hygiene

It’s really hard to get proper sleep during tech week, I know. Try your best to get it anyway!

Sleep is very important for physical health, mental acuity, and emotional wellbeing. All of these will be taxed by the demands of tech week. Do the best you can to get enough sleep for your personal needs.

One thing I have found very helpful is to set aside a few minutes before bed to decompress. Lower the lights and read, journal, or meditate. Tech week stress can easily translate to a night of tossing and turning, so do whatever you need to sleep through the night.

6. Take care of your immune system

Getting sick during tech week sucks. ‘Nuff said.

Tech week is a great time to overcompensate for your immune system. Take your vitamins. Wear a mask when you’re around lots of people. Wash your hands regularly, and use hand sanitizer after interacting with high-touch surfaces.

Getting enough sleep and paying attention to your nutrition and hydration are also important facets of maintaining your health. These can all be challenging pursuits during tech week, but it’s for the best! Make every effort to keep up with these health needs.

7. Set aside some funds

Between gas money, snack money, and unexpected purchases of props or costuming needs, I always find tech week to be an expensive time. While planning can help mitigate this (see no. 2 on this list), it’s also helpful to plan for the worst and save some extra cash.

You never know what might arise during tech week. Spend mindfully, and prepare some emergency funds just in case.

8. Make personal hygiene as easy as possible

Obviously, maintaining your hygiene is important at baseline. The hack I offer you in this pursuit is to make taking care of hygiene needs as simple as you possibly can, so that you never find yourself “too tired” to shower or brush your teeth at the end of the day.

There are a lot of tiny barriers that can make following through on an important task just annoying enough that we lose our motivation. Your goal is to remove as many of these barriers as possible. Set out your face wash and skincare products for the morning/evening instead of putting them away in a closet or cabinet that you’ll have to dig them out of later. Make it a rule that you’ll shower before eating or getting into bed. If you find you’re wanting to spend too much time in bed in the morning to get up and wash your face or brush your teeth, take these hygiene products with you to work so you can do them a little later. Keep deodorant in your purse or in your desk at work so you can apply on the go.

And remember, a little is still better than nothing. It’s better to take quick shower and skip washing your hair than to skip showering altogether because you feel rushed. Do what you can!

9. Have a plan B for child or pet care

Having contingency plans is always helpful. If you have pets or children who need looked after while you’ll be away from the house, it’s not a bad idea to line up alternate babysitters in case of emergency. Finding emergency childcare can but a big source of stress and panic, so having some plans in place ahead of time can be a relief.

10. Consider renting a room

This one is a little niche. If you’re working at a venue that is far away from your home, booking an Airbnb or reserving a room in a hotel can save you a ton of hassle during tech week. This obviously costs a good chunk of money. If the venue is far enough away from your home or job, you may actually save by doing this instead of spending money on gas!

If it makes sense for your finances and personal sense of peace, give this a try. I’ve never done it myself, but I have friends who swear by it!

11. Time your caffeine well

I’m just going to assume that you’re going to end up drinking caffeine during this week. You’ll most likely need it.

Planning a good time to drink this caffeine can be beneficial, especially if you get acid reflux like me and have to limit your caffeine consumption as a result. If you drink your caffeine too early in the day, you might find your energy flagging by rehearsal time. If you drink it too late, it might negatively impact your sleep. If you drink it too close to show time, or too long after a meal, you might find yourself feeling jittery and anxious.

Plan your day accordingly. Caffeine consumption can absolutely make you feel a lot worse if you do it in an unwise manner. I’ve talked about my personal caffeine habits on this blog before.

12. Mind your nutrition

It’s hard to eat well when you’re in the middle of a busy tech week. Like I said before, pre-planning meals is really helpful for a variety of reasons, but it’s also helpful to think about what you’re eating and when.

I’m not going to guilt trip you about poor eating habits during an extremely chaotic time– that would be counterproductive. What I will remind you is that variety is really valuable in your diet. You don’t have to eat a salad every day, but finding time to fit in some different foods can do wonders for both your physical health and general mood. Eating the same stuff all the time gets boring! Mixing it up a little can help you eat just that much healthier.

Eat long enough before rehearsal that you won’t have issues with indigestion, but soon enough before that you won’t be hungry.

13. Keep some quality-of-life necessities at the theater

When you’re carting everything back and forth from the theatre to your home every night, it’s easy to forget something important, ESPECIALLY when you’re under the stress of tech week. For this reason, having some necessary tools and supplies that stay at the theater can help alleviate a lot of worries.

My top recommendation in this regard is to acquire a secondary phone/device charger and leave it in your dressing room. I’ve taken my bedside phone charger to the theater and forgotten it TOO many times. There are a number of other useful things to keep at the theater though, too, including show makeup and skincare products (if you can spare it/aren’t using your everyday supply), deodorant and mouthwash, and some securely wrapped snacks. If it’s an item that forgetting would prove catastrophic, keeping it (or a copy of it) at the theater saves a lot of heartache.

As long as you’ve got the space and resources (and permission, if necessary) for it, no “necessity” is too weird. I have a friend who brings a personal cooler full of Redbull to keep at the theater during tech week. Every time she brings it out, I’m always a little jealous.

14. Have some emergency-quick-fix materials on hand

Just in case of emergency, I like to bring a number of supplies that could be used to fix a costume or prop in a pinch. Generally, these include a sharpie, scissors, safety pins, body/garment tape, a mini sewing kit, a backup roll of mic tape, and a mini glue gun. These aren’t perfect solutions, but they aren’t meant to be– the idea is just to have something on hand in case, say, the zipper on your dress breaks 2 minutes before you’re supposed to enter.

Realistically, chances are, someone else at the theater will have this stuff. But why leave it up to chance? If you bring them, you’ll know exactly where they are so they can be available at a moment’s notice. Nothing’s worse than knowing someone backstage has a roll of mic tape but being completely unable to find it.

15. A tech week massage is a game-changer

A few years back, I cleaned out my wallet during tech week and found a gift card for a salon that did massage therapy. I was able to book an appointment before a dress rehearsal, and I have been dreaming about tech week massages ever since.

This is obviously an investment and wouldn’t be attainable for everyone. I haven’t had the disposable income to make it happen again ever since that first time. But if you can swing it… wow does this make you feel like a brand-new human.

16. Comfort is king

Staying as comfortable as you possibly can really helps make the long hours of tech week a lot more bearable.

I’ve taken a lot of tech-week comfort tips from actors I’ve known over the years. I know actors who bring comfy slippers and fluffy robes to wear backstage before they’ve put their costumes on. I personally like to bring a portable humidifier with me to any spaces that tend to be dry, and I’ve been known to haul my air purifier into particularly musty, dusty dressing rooms. If the space is usually too warm for you, bring in a fan!

Comfort in costume is also important. Insoles or heel liners can be a lifesaver when dealing with uncomfortable shoes.

17. Don’t be afraid to skip the cast parties

Going out after a performance is a traditional part of tech week for many. It’s been a long week, and a cast party helps blow off some steam.

But then again… it’s been a long week. Don’t let FOMO make you feel like you have to attend a post-performance outing! I’ve found saying goodbye to everyone and coming home for a relaxing, solitary bubble bath to be incredibly freeing.

If you want to party, absolutely go party! Just don’t feel pressured.

18. Candy makes everyone feel better

Something I’ve learned over the years is that tensions tend to run high during tech week. One thing that makes tensions run higher is hunger.

Picking up a variety bag of candy or chocolate bars at the dollar store and leaving it out for everyone to share boosts morale like you wouldn’t believe. It also makes you popular! Just don’t eat in costume.

19. Tidy as you go

Keeping your dressing room neat can be a challenge, but it’s absolutely worth it. If you notice that the situation is getting a little out of control in your corner of the dressing room, it pays off to do some intermittent cleaning when you have a chance. Otherwise, you’ll have to do all the cleaning at the very end of the process when you’re most exhausted. Maintain a level of organization so your future self, and your fellow dressing room partners, will thank you.

20. Don’t forget to breathe

I’ve said it several times in this article, but let me say it again: tech week is stressful! Taking time to unwind and be in the moment is important. Find space for a few calming deep breaths, even if only for a few seconds. Staying calm helps prevent issues born from panic, rushing, and lack of attention. If you feel yourself getting worked up or feeling out-of-control, you owe it to yourself and everyone around you to go take a breather.

Final Thoughts

Tech week can be whatever we make it. Don’t forget the importance of mindset, and definitely don’t forget to take care of yourself! If you play your cards right, you might find you even enjoy your next tech week.

If you’re looking for more tech week survival tips, check out my Ultimate Guide to Surviving Tech Week, or Do This, Not That: Tech Week Edition.

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directing, Theatre

5 Must-Read Books for Aspiring Theatre Directors

Posted on by Thtrthts

Directing is a harsh learning curve. Thankfully, there are a wealth of fabulous resources out there to make the process a bit less harrowing. These are my top recommendations for anyone who is interested in directing for the first time and isn’t quite sure where to start. 

Read more: 5 Must-Read Books for Aspiring Theatre Directors

This article contains affiliate links. If you would like to support me, consider purchasing these books using the links provided!

Notes on Directing: 130 Lessons in Leadership from the Director’s Chair by Frank Hauser and Russell Reich

If you don’t read anything else about directing, I would highly, highly recommend you make this the one you read.

Notes on Directing is short, sweet, and chock-full of great tips about nearly every aspect of directing. It is organized in the chronological order of mounting a production, beginning with pre-production considerations and ending with the performances themselves. The tips are generally short, only a few sentences at most, but packed with wisdom. This book is an excellent starting point for building a directing method and philosophy, and its bite-sized nature invites repeated perusing.

This is a must-have for any director’s personal library. When I directed my first community theatre production, I kept my copy of this book on me basically at all times, and would spend a few minutes before each rehearsal thumbing through it for some guidance and confidence. I really can’t recommend it enough for how practical and concise it is. 

Buy local from Bookshop.org here

A Sense of Direction: Some Observations on the Art of Directing by William Ball

A Sense of Direction feels like the longer-form cousin of Notes on Directing. The general flavor of much of the advice is similar, but provided in far greater detail. This book covers all aspects of directing, from choosing and analyzing a script to how a director should behave on opening night. 

The information provided in this book is practical and backed up with professional expertise. And it’s all here in one place— while I recommend directors explore the many fabulous books on directing available to them, this one is particularly in-depth. If you only read two books on directing, this is a solid second. 

Buy local from Bookshop.org here

Backwards & Forwards: A Technical Manual for Reading Plays by David Ball 

Directing is a lot more than script analysis, but script analysis is a really important step one (that more directors should really spend more time on).

David Ball provides step-by-step instructions for reading a play carefully and methodically. The book is short and easy to read quickly (my first pass at it only took one day), but the text warrants revisiting as you begin and work through pre-production homework. Understanding your script is critical for creating your vision and guiding your actors through the work. This book is a thorough guide and a classic for its efficacy. 

Buy local from Bookshop.org here

Staging Sex: Best Practices, Tools, and Techniques for Theatrical Intimacy by Chelsea Pace with contributions by Laura Rikard

This is a detailed manual for staging theatrical intimacy. I can hear you beginning to click away: I’m not doing Heathers or Spring Awakening, I don’t need to read about how to simulate sex on stage. Take a second to mentally flip through the script of any show you’ve ever dreamed of directing: does it contain any kissing? Intimate touching? Dialogue and behavior of a sexually suggestive nature? Then you should absolutely read this book.

Chelsea Pace and Laura Rikard provide stellar guidance for handling intimacy in a healthier, safer, and less awkward way. Even well-meaning directors often find themselves asking their directors to “just kiss” or “act sexier.” Discussing sex is a taboo in our culture, so communicating with fellow creatives about it can be a challenge. This book offers helpful vocabulary and “recipes” for building intimate encounters that look natural and feel safe for everyone involved.

I honestly think that everyone involved in theatre should read this book. There is so much incredibly useful material! 

(And besides, I had to get at least one person who didn’t identify as a cis male on this list. I’ve got some more pieces by female authors in my TBR pile now, so the next list ought to be an improvement in that regard!)

Buy local from Bookshop.org here

The Empty Space: A Book about the Theatre: Deadly, Holy, Rough, Immediate by Peter Brook

This text is much more theoretical than any of the others on this list, but it is a classic for a reason. Peter Brook is one of the most celebrated directors in modern theatre history, and he shares his wisdom on the art of theatre with humor and wit. This book is short but dense, and rewards repeat reading. Despite how high-minded it can be, the theories Brook provides are palpable and intuitive, and prove useful for a director to keep in mind.

The final chapter of the book provides a miscellany of directing and acting advice. Hypothetically, if you find the first part of the book a bit too difficult to get through, just this final chapter is quite valuable— though I would highly recommend you work through all of it to build a deeper understanding of the power of theatre.

Buy local from Bookshop.org here

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technical theatre, Theatre

5 Ways Working in the Scene Shop made me a Better Theatre Artist

Posted on by Thtrthts

I made extra money during college as a work-study scenic technician for the university’s theatre and dance department. The experience was a lot of fun, and it was instrumental in helping me develop into the creative thinker and problem-solver I am today.

I often say that I think every actor should try out tech and design opportunities. Why? Here are a few ways working in the scene shop helped me, and can help you, too:

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Guides and Tips, Theatre

20 Audition Do’s and Don’ts

Posted on by Thtrthts

Ask an actor what their least favorite part of performing is, and many of them will probably say “auditions.”

While auditions can be frightening and challenging, they don’t necessarily have to be! Approaching with the correct mindset and materials is key for a less harrowing experience.

Here are 20 miscellaneous tips to help make the process a little less rough!

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Actor Life, Theatre

Story Time: I Didn’t Mean ALL of Them!

Posted on by Thtrthts

She Kills Monsters boasts a ton of opportunities to show off creative fight choreography. Scene 5 in particular ends with a “high-energy montage of badassery” where the main characters “kick ass by killing a crap-load of different monsters in an assortment of different ways from badass to comedic.” The script suggests including all sorts of iconic fantasy creatures to make the scene into a D&D nerd’s wet dream.

I designed all my monsters using Wintercroft papercraft mask templates as my starting point, so I was modestly limited to what monsters I could reasonably create. Skeletons seemed like a pretty straightforward option– what fantasy adventure doesn’t involve re-animated skeletons at one point or another? I decided to use a skull template to create a couple of liches for this scene. For the uninitiated, a lich is made when a powerful magic-user performs a ritual to remove their soul and become and undead creature in order to gain more power. The “soul” (or what’s left of it, anyway) is then stored outside the body in a phylactery. This means the lich can’t be damaged by regular means: if you want to kill a lich, you’ll have to destroy its phylactery.

This felt like excellent fodder for some interesting fight choreo. There are so many fights in the show, I felt like it was important to get some new gimmicks now and then. I choreographed this segment of the montage so that each lich (4 total) had a staff with an orb on top. The party would be scattered by the difficult enemies, each rushing in and out for a sort of Scooby Doo-style chase sequence. Agnes, cornered and alone, would destroy the orb on her attacker’s staff in desperation, and realize that this is the secret to defeating the rest. One by one, she would help the party destroy the rest of the orbs. This offered an opportunity to show Agnes growing as a smarter, more resourceful D&D player. (“Plus one in being less of a dumbass!”)

When I choreographed this, I didn’t yet have a plan for these staffs topped with breakable orbs– I had vague thoughts of sugar glass, or maybe something clever done with balloons?

The solution I landed on was even simpler. We were already hand-making the staffs– I found that covering a tall wooden dowel in glue and stuffing it into the hole in the center of a pool noodle makes for a boffer weapon that you can hit someone really hard with before it hurts. (Few of my actors had prior stage combat experience, so I really wanted all the weapons to be nice and soft, just in case. Regular pool noodles make for fun practice weapons, too!) For the orbs, I purchased some clear plastic balls that came in two halves. I gave them a gentle dusting of spray paint so they looked sort of mystical/crystal-ball-like, and then just hot glued them onto the ends of the staffs. The result was something easily “breakable”– the actors could rip the orbs off the staffs or break them in half, and we could just put the halves back together and glue them back in their spots before the next show.

I tested the orbs myself and felt like they were perfect for our needs. It only took some light pressure to make the two halves pop apart. And, if we went a little overboard and broke a few, it would be fine! The set I bought came with plenty of extras.

I showed the staffs to the cast. I pointed out how easily they broke– just apply a light squeeze, or a gentle “stage stomp,” and then the liches would die dramatically, and we’d glue the whole thing back together for another night. We ran the choreo and everything went perfectly.

I also mentioned that it wasn’t a big deal if we broke some of them.

Over the next couple days of rehearsals, we ran the fight scene a number of times. The actor playing Agnes broke one or two of the orbs– no biggie, we had extras, and anyway her choreography was kind of physical compared to everyone else’s, so I had sort of expected a couple of the orbs to get smashed in the crossfire.

What followed from the start of tech week to the end can only be called an orb massacre. What started as Agnes breaking one or two quickly became all of the actors breaking every orb. It was such a slaughter that I was convinced they were doing it on purpose. I’d said they only needed LIGHT pressure, I never said to blast them all to pieces!

We began running out of plastic balls. At notes after dress rehearsal, I asked the cast, “can we try not to smash so many of the orbs during the lich fight?”, and you would have thought I asked them to try doing the scene while levitating 3 feet off the ground.

Someone said, “but I thought you said we had backups!”

I said, “HAD backups, yes!” But not enough backups to replace every orb every night for a week!

We managed to scrape through all the performances with JUST enough– we had to use some orb halves that were only slightly cracked, but not totally busted, for the final show.

Admittedly, this was totally my fault– I should have been more clear. I’m taking an indignant tone for the sake of humor, but I understand where the mix-up occurred. Directing teaches you a lot about the critical importance of specific communication!

I’ll never forget the actors looking at me like I had five heads when I asked them not to break the things I didn’t know I’d apparently invited them to break. Lesson learned: Next time I’ll tell the actors that we don’t have ANY replacements and that they need to be EXTREMELY careful, I guess! 🙂

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directing

Directors, Don’t get it Backwards: YOU Should be Grateful for the Actors

Posted on by Thtrthts

I have worked with fabulous directors who create wonderful environments and experiences, and awful directors who foster really unpleasant ones. Sometimes the same director has provided both extremes in different instances.

What makes the difference? 

Obviously, this is an abstract and subjective question. The difference between a good director and a bad director (and those terms are hardly absolute, anyway) could be tracked to many unique variables.

If you ask me, though, one of the most critical and most underrated traits that make or break a director is their mindset regarding their actors. I think many directors who would be excellent get this mindset completely backwards– and this is a fatal mistake.

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Theatre

5 Fabulous Resources for Navigating Theatrical Intimacy

Posted on by Thtrthts

Last year, I took my first workshop with Theatrical Intimacy Education. It blew my mind and set me on a long-term journey to begin building a theater practice that is safer, easier, and all-around less uncomfortable.

I don’t have a statistic to back up this claim, but I feel confident that the vast majority of actors have experienced some kind of awkward stage intimacy encounter in their theatrical career. We think of it as a sort of rite of passage. And indeed, we can’t eliminate awkwardness in the theatrical process altogether– it just wouldn’t be possible. To some extent, that awkward stage kiss or uncomfortable in-character romance we all dread just can’t be avoided.

But go with me for a second: What if we could make it less uncomfortable? What if we could make it a little more fun and a little less scary?

Theatrical intimacy training aims to bridge that gap on both the professional and hobbyist levels, for shows with intimacy as complex as simulated penetration and as simple as a handhold.

Why do I need these?

Theatrical intimacy training is valuable for everyone who participates in theatre: directors, stage managers, actors, and technicians, not just those seeking to become an intimacy coordinator or director. Intimacy training imparts helpful tools and tricks that all participants in the process can use at their own pace. It also imparts a philosophy of consent that can be really revolutionary in a space as collaborative and vulnerable as theater.

This emphasis on consent centers personal boundaries in our performance spaces. In the #MeToo era, the value of this kind of training really can’t be overstated. Through a broader lens, though, learning and practicing these principles can benefit actors of all types. Disabled actors, global majority and BIPOC actors, and actors of diverse marginalized groups benefit when we evaluate and reassess our existing practices and look for ways to make them more inclusive.

The bottom line is that this training helps make theatre spaces healthier and more welcoming for everyone!

Here are just five recommendations to get you started in your exploration:

1. Live or in-person workshops through Theatrical Intimacy Education (TIE)

My first workshop with TIE changed my entire outlook on theatre.

TIE offers a number of different workshops that cover theatrical intimacy from a number of angles. In addition to exploring the staging of intimacy, they also provide workshops on consent, racial equity, and gender in the context of theatre.

One unique offering is their diploma system. While the organization disagrees with the requirement of formal certification, the TIE diploma is a way of recognizing the hours of training accrued by participants. There are multiple diploma levels, each requiring a number of different courses. These make a great addition to a resume!

TIE posts their workshops in seasonal “drops” every few months. You can see their current offerings here. They offer a tiered pay scale for their workshops in the name of greater financial accessibility– pay what you can to access their valuable training!

Special mention: TIE (along with California State University Fullerton’s Pollak Library) also publishes the Journal of Consent-Based Performance, which is another excellent resource. You can find the journal, as well as a digital archive of all its issues, here.

2. Staging Sex: Best Practices, Tools, and Techniques for Theatrical Intimacy by Chelsea Pace with contributions by Laura Rikard

Staging Sex is a bit of an addendum to the previous point: the book is written by the co-founders of TIE, and covers much of the same content that is included in TIE’s “Best Practices” workshop.

If you’ve taken this workshop, the book is a wonderful review of the material. I also found it helpful as a different way to absorb the info I picked up in the workshop– getting to read and reflect at my own pace was valuable.

This book can also be enjoyed independent of any workshops, of course. If you want to get your feet wet with intimacy concepts on your own timetable, I highly recommend this book!

If you’d like to support the blog, you can get the book on Bookshop using my affiliate link!

3. Intimacy Directors And Choreographers (IDC)

Previously Intimacy Directors International, IDC is the largest organization training intimacy professionals for both stage and screen. Their website boasts a wealth of resources both free and paid.

IDC certifies intimacy directors and choreographers. Certification is not the path for everyone, and isn’t a requirement to working successfully as an intimacy professional, but if you have the resources, the training can certainly be invaluable. This kind of program offers a more structured approach than the more piecemeal approach provided by TIE– there are certainly pros and cons to both approaches.

I have never personally worked with IDC, but they are a reputable organization whose alums have gone on to highly successful professional careers. They’re worth checking out!

4. Live, in-person, or pre-recorded workshops through OPEN Intimacy Creatives

Open provides ongoing professional education and networking opportunities for intimacy professionals. Founded by Chelsea Pace, the organization offers a variety of ways to interact with and learn from other artists. Their workshops are both live and recorded, and past recorded workshops are available on their site for on-demand learning. Open also offers a unique training program called a Cohort, granting participants hands-on, practical training.

Open is designed for intimacy professionals, so it is not meant to be a beginner’s resource. Once you’ve gotten your feet wet through other means, this is a great resource that emphasizes professional networking opportunities. Check them out and make some new connections!

5. The Intimacy Choreographers, Coordinators, and Educators Resource Group on Facebook

Okay, obviously a Facebook group isn’t a replacement for actual training. Nevertheless, this is a great place to ask questions and look for information. I’m sure there are many Facebook groups similar to this one– this is just one that I know and am a part of!

Talking about and immersing yourself in conversation about a subject is an important part of learning. It can be intimidating, though, and if you don’t have the connections, finding the people to discuss with can be a challenge. Facebook groups provide an excellent avenue for discourse that can be explored no matter who or where you are.

If you have any additional resources that you feel should be on this list, please add them in the comments below!

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Actor Life

10 Theatre Habits that make you Very Demure, Very Mindful

Posted on by Thtrthts

With my warmest applause for @joolieannie, whose viral TikTok video has earned her the money she needs for her transition!

1. You stay quiet while other actors are rehearsing

Being respectful of others while they are working is very cutesy, very demure. Making a bunch of noise at rehearsal is disrespectful of others’ time and energy, and plain old distracting. Treat others like you want to be treated!

      2. You learn your lines by (or even before) the off-book date

      When you’re the only one who isn’t prepared, it’s embarrassing for you, and it’s frustrating for everyone else. Not knowing your lines is a disaster waiting to happen! It also wastes time in rehearsal. Practicing your lines thoroughly ahead of time so you’re completely ready for the off-book date is very considerate.

      3. You communicate with your production staff

      If problems arise, you should immediately talk to your production staff so they can handle it. Being a clear communicator is very approachable. It helps you avoid bigger problems in the future.

      4. You take good care of your props, and don’t touch other people’s props

      Be careful with your props, as well as your costumes, and be especially careful with those that others need to use. There are few things worse than having something you need for a scene messed with by someone who had no business touching it in the first place– except maybe the bad feeling that comes from being the person who messed with the prop. Respecting other’s tracks in the show is very mindful.

      5. You pay close attention to the rehearsal schedule to avoid unexpected conflicts

      Calling out of rehearsal at the last minute creates a lot of problems for a lot of people. Keep your rehearsal schedule somewhere you have easy access to it, so you can reference it as needed to make sure you don’t accidentally overbook yourself. Being prepared for rehearsals is very cutesy.

      6. You come to rehearsals on time, and let the staff know if you’ll be late

      Being on time is a must. Inevitably, though, things will occasionally come up– we can’t always plan our way out of freak traffic blocks or unexpected car problems. If you are going to be late, it’s very considerate, very demure to tell the production staff ASAP. Make sure you have contact information for the appropriate people, so you can give them a heads up if something like this happens.

      7. You don’t eat in costume

      You shouldn’t eat in costume because of the potential for stains or crumbs to ruin the look your production’s costumer likely worked hard and spent money on. Respecting your costumer is very demure.

      8. You treat the production techs like human beings

      The stage carpenters, lighting designers, and audio technicians who make sure your production can happen are just as important as you are, mx. actor! Be very respectful, very demure in your communications with them. Don’t forget to treat them with kindness– and say thank you!

      9. You stay home if you’re sick

      Please, don’t come to rehearsal if you’re sick. Call on your understudies if you need them! Coming sick puts everyone’s health at risk. Putting others in harm’s way is not very cutesy.

      10. You stay professional with your fellow actors

      This means you treat each other well. But not too well. Stay away from that showmance until the production is over, girlies– it can cause real problems for the entire production. Let’s be mindful of everyone else’s boundaries and not get entangled with something that might make others uncomfortable.

      Let’s not forget to be demure, divas!

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      Actor Life

      Story Time: Watch Your Step

      Posted on by Thtrthts

      A couple years back, I played Miss Honey in a community theatre production of Matilda. I had an absolute blast, and I have super fond memories of that show.

      That process did, however, supply me with one of my very favorite theatre horror stories, and I love to share it.

      Towards the end of act one, Miss Honey sings the song “This Little Girl.” I was blocked to stand downstage right, right next to the proscenium, at the very front of the stage. It’s a big emotional beat in the story– Miss Honey approaches the Wormwood family to ask about getting Matilda into special classes at school, because Matilda is the most brilliant child she’s ever met. The family is not supportive: Mrs. Wormwood sings a whole song to make fun of Miss Honey and then unceremoniously throws her out of the house. Standing outside, Miss Honey debates going back inside to give Mrs. Wormwood “a piece of [her] mind,” but she is overcome with self-doubt and decides to leave instead, defeated. Just as she starts to walk away, though, she remembers that Matilda is a miracle, and deserves all the support she can get… and it seems like Miss Honey is going to be completely alone in figuring out how to support her. She is emboldened, but afraid; it’s a complex and very human moment in a high-energy, larger-than-life show.

      My blocking was very simple. At one point, I would turn to walk away, but remember what a miracle Matilda is and slowly turn back to face front. The rest of the song would be delivered straight out to the audience– I found myself staring straight into a spotlight for this part. After the song, I was to leave down a small staircase at the front of the stage and exit through the aisle of the theatre. Blackout, end of scene.

      This had been rehearsed without a hitch, but on open night, something was different.

      When I arrived at the theater that day, I had noticed some of the kids in the cast painting the two staircases that lead into either aisle of the house. That was good, they’d really needed painted, they were so scuffed!

      The issue is that those children very helpfully painted over the glow-in-the-dark tape that illuminated the edges of these black staircases.

      No one noticed this until I did, at the end of my song. I sang “This Little Girl” looking into the spotlight, as I had been doing. I finished the song to excited opening-night applause, and the lights went to blackout. I stepped forward, as I had every night of tech week, and looked down to find the first step of the staircase.

      I absolutely could not see it.

      I blinked a few times. My vision was a little funny from looking into the spotlight earlier, and now I had been plunged into darkness. I couldn’t make out the glow tape at all, it was as if the stairs weren’t even there!

      Well… I’d walked down them every night of tech week. Maybe muscle memory would be good enough. I took a step.

      And… yeah. I fell off the stage.

      I only fell about two feet. I wasn’t actually hurt, though my ego was magnificently bruised; I’d caught the very edge of the top step and tumbled down the rest. I heard the audience gasp, but I popped right back up and scampered up the aisle like I was supposed to, thoroughly embarrassed. The director was beside herself at the back of the house, I whispered a hurried “I’M FINE I’M FINE I’M FINE” as I passed and went to assess the damage before my next scene.

      I scraped my shin on the way down, but this was the extent of my injuries. I’d ripped a hole in my tights, though, so I took that pair off, put a band-aid or two over my scrape, and threw on a new pair of tights before the next scene. The rest of the show went off without a hitch, and they made extra sure there was glow tape on the steps for the rest of the run. I’ve been a stickler about glow tape ever since.

      Pro tip: Don’t step off the edge of the stage if you can’t see where you’re trying to step… it won’t go well, but at least you’ll have a good story to share.

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