Tag: growth mindset

Actor Life, Theatre

What to Expect When Your Kid Decides to Try Theatre

Posted on by Thtrthts

When a kid makes the decision to try theatre for the first time, it can be a surprising experience for both the child and the parent! Having some ideas of what to expect can be helpful. Whether you have any theatrical experience or not, here are some tips to help you understand what you might see over the next few months:

It’s a commitment! (But a beneficial one)

When your child is cast and you see the rehearsal schedule for the first time, you may be taken aback. Being in a show is a big commitment, and as a parent, it often means a commitment on your part, too. Rehearsal schedules can be quite demanding– even as an adult actor with lots of experience, I am sometimes surprised by just how big of a commitment a show can be.

Remember, though, that the commitment is the point. Mounting a show is a huge endeavor, and rehearsal is required to make that happen! Consider your volunteer time an investment in the program. You’re not just supporting your own child, but also everyone’s kids by donating time and energy to the program, even if the least you do is make sure your kid gets there on time.

Theatre is a really wonderful growth opportunity for kids, but that growth is very dependent on parents being able to physically get their kids there! It can be annoying, but that doesn’t mean it’s not worth it.

Some pro tips for dealing with the time (and gas!) commitment:

  • A carpool setup can absolutely save your life. If your kid has any existing friends in the cast, see if you (or your kid!) can set one up with one of these friends. Fingers crossed, your child will also make new friends who can one day be part of this carpool.
  • Pay close attention to the rehearsal schedule you receive. It’s possible that your kid is not called to every rehearsal, meaning they’re not needed every single night. Many rehearsal schedules will include a “call list” listing either the actor or character names of all required to come to rehearsal. How often your child is called is heavily dependent on the role your child has and the nature of the show they’re in, and dependent on the director’s plan. Not every director organizes their rehearsal schedules this way, either. It’s important to pay attention to all communications from the director to make sure you’re understanding who is needed each day and who isn’t.
  • Ultimately, though, remember that your child’s attendance all rehearsals they are called for is critically important to their success. It is frustrating to have to drive to the theater every day, I know– even as an adult actor driving myself to my own rehearsals, I often quibble about this– but it’s worth it. Your child will get more out of the process, make stronger connections, and stand out in a good way with the director if they are always present and prepared for rehearsal.
  • If there is a night where it is simply not possible to get your kid to rehearsal– something has come up, or your transportation has fallen through– be sure to reach out to either the director or stage manager (the information given to parents at the start of the show should explain who to contact and how to reach them) as soon as possible so the director knows your child will be absent. Think of it like calling off of work– a no-call, no-show is never appreciated.
  • If you’re struggling to find time during production week (the week of the show, where rehearsals tend to run late each night), consider reading my Ultimate Guide to Surviving Tech Week.

They will grow in many ways

It’s impossible to overstate how many opportunities for growth theatre supplies. Since every child is different, every child will take different things from their theatrical experiences. Sure, they’ll learn the show itself, but they’ll also develop a number of hard and soft skills.

Naturally, kids may develop better social skills, and gain a new appreciation for collaboration and teamwork. Theatre is also a fun, low-stakes outlet for improving reading and public speaking skills. By exploring technical theatre or theatrical design opportunities, kids can discover and cultivate diverse interests and skillsets through art, technology, and mathematics. They’ll become better connected with their peers and community at large, and will likely make some new friends! Hopefully, they will also become more independent and disciplined. 

Some tips for supporting that growth:

  • Take an interest in what they’re learning and doing! Properly encoding and understanding the material learned in rehearsal requires some “homework.” Asking your kid about what they did in rehearsal can be a good way to prompt some at-home practice.
  • Exactly what your child needs will depend on the child. For me, theatre helped me learn to be more independently disciplined and assess my own understanding of materials I’m studying. Some kids might learn best when allowed to explore on their own, and some might learn best when scaffolded more directly. Staying in tune with how rehearsals are going can help you gauge how you can best support your kid in the process.
  • Remember, the more committed they are to the process, the more they will learn and grow. It’s important to make sure your child can make it to rehearsals so they can learn what they need to learn!

They’ll Make new Friends… And you Might, Too

Your child will be spending rehearsal time bonding with their cast mates. These bonds can be super strong, and can form very quickly! Don’t worry that your kid won’t make friends in the show: it’s almost inevitable that they will, at some point of the process or another. The actors just spend too much time together to not form some kind of connections.

Meanwhile, you may find that in the time spent picking them up and dropping them off, participating as needed in parent meetings or volunteer sessions, or attending shows and recitals, you may just develop some new friends of your own! Many school theatre departments request volunteer assistance from parents, and  community theaters are always in need of extra assistance. If you’re looking for a new social hobby that allows you to practice some new skills, your child’s theatre participation may help you out!

  • Theatre friendships can be really great for young actors! Making friends with other actors encourages kids to continually assess and better their skills. Just make sure that the friendly competition that arises between theatre peers remains friendly– don’t let your kid talk badly about their own skills, or about other actors!
  • Keep an eye out for any calls for parent volunteers. This is a valuable opportunity to support the program directly. Just remember that volunteering your time doesn’t guarantee anything in return… some parents think volunteer hours can be bartered for better roles for their children, which is definitely not the case.
  • There are a variety of ways to volunteer, and volunteers are needed at all different stages of the rehearsal process. Regardless of your skillset, there’s almost always something for you! Even if you don’t have free time to contribute, some donations are almost always welcomed, whether monetary or physical goods.

It might be frustrating at times… for both of you

Theatre, especially for young actors, is definitely not always sunshine and happiness. There will inevitably be complications throughout the process. Your child might start to feel burnt out through the process, and you might start getting sick of driving them to rehearsal every night! Remember that the process offers a lot of great opportunities, and keep your eyes on those when you both start to feel the pressure.

  • It’s important for both young actors and their parents to keep their emotions in check when feeling burnt out. If you’re tired from all the rehearsal time, the show staff are certainly tired, too! Being temperamental with them may ultimately hurt your chances of participating in future shows.
  • Remember that any learning process is going to be frustrating at times. In fact, some frustration is a sign that your child is learning and growing. Allowing space for a little productive struggle is key to developing resilience and a positive work ethic!

They Might Face Some Heartbreak

As in any activity, theatre provides the invaluable opportunity for children to lose with grace. The nature of performance is such that not every child can get the role they want every time. Your kid might be a dancing fork when they really wanted to play Belle, or they might be cut from a performance altogether. Remember that this is an opportunity for growth and learning in itself, and that learning how to get back on the horse is as important as learning not to fall off it.

They Will Exceed Your Expectations

When a kid makes a decision to participate in theatre, it can be an opportunity for both the kid and the parent to grow and learn new things. Ultimately, if you invest in your kid’s interest by ensuring they’re at rehearsals when they need to be, practicing at home as needed, and talking to them to support them through their frustrations, you’ll find that your child will grow more than you expected!

Support your kids, and you may just find the very expectations set by this article smashed.

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Actor Life, Theatre

The ONLY Reason Anyone Ever Gets on a Cast List is…

Posted on by Thtrthts

… because someone on the audition panel said “I want this person in the cast.”

This is the stone-cold truth. Think about the implications.

This means:

  • It doesn’t really matter what experience you have… you might be the most experienced person in the room, but lose out on the part to someone who has never done theatre before.
  • Practicing until your audition is perfect might be helpful, and it’s definitely better than being unprepared… but it doesn’t really make the difference, does it? You could have a flawless audition and still not make the cut.
  • Having natural, inborn talent is great and all, but that doesn’t matter much when the production staff could just decide they want someone else more.
  • Professional connections are always invaluable… but if the production staff just can’t see you working in this project, then they won’t help much.
  • You could be not wanted for any random reason: What if you remind a director of their mean ex-girlfriend? You might have made a funny face that made the choreographer think you were making fun of them. You could have included your birth date on a resume and handed it to a casting agent who noticed your zodiac sign and decided it was a poor fit for the project.

Are you lost in hopeless despair yet? Don’t be.

Yes, all those things are true. Casting is weird and random and unpredictable, and the reality is that you may be perfectly qualified, prepared, and well-suited for a part and still not get it…

But don’t give up yet, because that means it’s also true that:

  • You might be the least experienced person in a room… the other people might have flashy professional credits! You could go toe-to-toe with a Broadway star in an audition… and still get cast, because the audition panel just wants you.
  • You might practice and practice and practice and then forget every single word when you enter your audition. You leave and think “that was the most miserable failure I’ve ever experienced in my life…” and the production staff calls you back, because they just loved your energy.
  • Imagine sitting in a lobby before an audition and your worst fear walks in: that ultra-talented freak of nature with perfect pitch who can sing whistle tones while walking on her hands and performing ventriloquism. And also she has perfect hair. There’s no way you can beat someone that talented!! … but then she’s the one who gets cut, and you get the part, because the production staff just think you’re a perfect fit.
  • You don’t know a single person at the audition. Or at this organization. You’ve never even stepped foot in this venue. But the casting agent just wants to work with you, and suddenly you’re making plenty of new connections!
  • You could be not wanted for any random reason… but you can also be wanted for any reason! Maybe the director liked your sweater and remembered “that cardigan girl” when it came time to make the callback list. Maybe the casting agent saw you make a mistake that they thought was charming and decided they liked your vibe. Maybe you told a silly joke and the staff laughed so much about it at the casting table that they decided they just had to include you somewhere.

So don’t despair. Yes, auditions are nightmares of entropy, and every audition you go to and don’t make the cut can feel like a colossal embarrassment and waste of time… but just remember that it could randomly go your way as much as it might randomly not.

The only way you’ll ever get cast is if you show up. If you show up, someone might just decide they want you. Or they might not… but that’s the coin flip you’ll just have to accept.

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Actor Life, Theatre

Everyone Else has Sh*t Taste, and Why That Matters as a Performer

Posted on by Thtrthts

A few years ago, I saw a production that was so bad that when it was over, I texted my friends and said, “it should be illegal for a director to misappropriate funds like this in order to put on this poor of a production.” I honestly felt upset that it was allowed to be put to stage. How many hours of rehearsal and how many thousands of dollars were spent mounting this shocking production?

A few months later, that show came up in conversation with someone I knew from that theater. They asked if I’d seen the show, and I began trying to formulate some polite comments about it to sustain a conversation. The other party then told me that they thought it was the best show they had seen all year.

I had a sort of out-of-body experience… and suddenly, something that I’ve always been told but had never quite internalized made complete sense.

Read more: Everyone Else has Sh*t Taste, and Why That Matters as a Performer

People always say, “you can’t please everyone…”

It’s an obvious truth. There are just too many other people on this planet to try to appeal to everyone. Tastes are complex, personal, cultural, and often based on myriad subconscious impulses we aren’t even fully aware of. Why would you bother trying to please everyone? It simply can’t be done, you’d go crazy trying.

We say things like “not everyone has to like us,” “sometimes we have to agree to disagree”– many of these sayings ultimately mean the same thing, don’t they? The idea is simple: trying to please everyone is futile. You just can’t always get other people on the same page, and you have to be okay with that.

I understand that part. An element of that conversation that I think is often missing is the fact that other people by and large are not worth impressing.

I don’t say this to be a misanthrope. Other people can be great! Other people are some of my favorite people.

As an exercise, though, think about the worst influencer you know, or your least favorite actor or author, and remember: those people have an audience. There are people who follow them, people who consider them their favorites, people who would be willing to sit and argue with you about how excellent their content and artistry are.

In one sense, this is a ringing reminder that there’s no reason to get down on yourself for feeling untalented, or unlikeable, or unmarketable. Also, it’s a reminder that a lot of people do not share your sense of taste. In fact, their taste is the exact opposite of yours.

And they’re not alone. There are a lot of people out there who will vehemently insist that the worst thing you’ve ever seen in your life is the best thing they’ve ever seen in theirs.

When you participate in the arts, inevitably, you will encounter people who simply will not like your art, and no amount of self-improvement or artistic diligence will change that. You could practice your art and master your craft until the product is, to your eye, absolutely flawless, and others would still hate it.

Instead of letting this get you down, instead of sighing and thinking “well, I can’t please everyone”– remember that some people just have sh*t taste.

In fact, maybe even most people have sh*t taste. After all, since you can’t please them all, the only person whose taste should matter to you is you.

Let them be happy with their sh*t taste. You can make your art without them.

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Actor Life

Your First Audition Ever Might be Scary. But it Will be Worth It

Posted on by Thtrthts

So you’re thinking about auditioning for theatre for the first time ever.

I won’t sugarcoat it for you. Auditions are scary.

I am a seasoned performer. I have a lot of shows under my belt. Despite participating in theater for over 15 years now, I am still nervous about auditions. The process is still a great source of stress and fear for me.

So, bad news: Maybe that doesn’t completely go away. There’s a silver lining here, though, too: You don’t have to worry too much about it being scary. The good news is that we’re all scared.

It’s the truth! It’s everyone in the room. Even the people who look super confident. Especially the people who look super confident. I’ve heard it myself: I’ll be at an audition mentally ripping my hair out, and someone will walk up to tell me that I look so calm and collected… I am not!

When I say everyone, I mean everyone. Truth be told, even the show staff are nervous. They want to cast their show well. They have a lot of people to see and a lot of decisions to make. It’s scary for them, and in very similar ways that it’s scary for you. They’re also worried about embarrassing themselves or saying something stupid. They want to make a good impression just as much as you do!

So if we’re all scared, then why are we there?

It’s important to remember that question. Why are you auditioning? Really think about it.

At the end of the day, you don’t have to audition. You have free will! You’re welcome to skip the whole process. And when you’re waiting before your audition, sitting in the lobby and sweating it out, it might reassure you a little to remind yourself that you could get right up and walk out that door, if you wanted to.

But you don’t want to. You want to audition, because… you want to try something new. You want to have fun with your friends. You want to make new friends. You love the show and want to be a part of it. You want to sing or dance or act. Whatever your reason is, remember it– it’s important!

When you find that reason, auditions can even be fun.

Yes, it’ll still be nerve-wracking– but it can be fun, too! It’s just another chance to sing or dance or act. It’s another chance to hang out with your friends, or make new ones. And you might just get to be in this show and enjoy this new experience, too!

And if nothing else, remember, once you get this audition out of the way… it’ll never be your first audition again. They’re all a little less scary after that. They’re still scary… but less.

So don’t stress too much. You’re allowed to be nervous. Everyone else is, too. You’re also allowed to have fun.

And no matter what the outcome, it will be worth it.

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technical theatre, Theatre

40 Reasons Every Actor Should Try Theatre Tech

Posted on by Thtrthts

I pride myself on being a multi-talented actor. I have had the good fortune to experience theatre in a number of on-stage, off-stage, and backstage positions, and I have really treasured these opportunities! In fact, I value them so much, that I think every actor should try them out for themselves.

Here are 40 miscellaneous reasons you should:

  1. You learn practical life skills. Almost every skill you’ll pick up in theatre tech– whether it’s a hard skill like design, construction, and electrics, or a soft skill like teamwork, critical thinking, and problem solving– can be used in other domains.
  2. You get to experiment with tools you’ve never used before. Learning to use new power tools and other technology can be both fun and extremely useful even outside the theatre. I learned how to weld because I decided to try a position as a work-study tech in college!
  3. You make new connections. You’ll likely work with different people than you do as an actor, and that networking can translate to new opportunities.
  4. You become more marketable as an actor. Tech skills are a nice addition to a resume. If you do community theatre, this skill is extra useful, since much of the tech crew will be volunteers anyway.
  5. You develop your problem-solving skills.
  6. You develop your mathematical and technological skills. Essentially every role you’ll take on in theatre tech will involve some measure of either math or technology, or both. This can be a valuable way to practice these skills.
  7. You discover new ways to participate in and enjoy theatre. I’ve known many actors who have tried tech theatre and discovered they actually enjoy it much more than acting!
  8. You deepen your understanding of theatre as a whole. Understanding “how the sausage gets made” so to speak can help you better understand the art of theatre. You’ll be surprised at how this can shape your understanding of performance.
  9. You can find new hobbies. Theatre tech integrates a number of different trades and skills. You may find that painting sets or making props becomes a source of creative inspiration for you!
  10. You can pick up skills that can be useful for a professional career. As I said before, both the hard and soft skills of theatre tech can be practical in many other domains– including professional ones! For a time, I seriously considered looking into taking formal welding lessons to shore up the welding skills I learned doing theatre tech in order to get a new vocation. You never know how useful the skills you learn may be: you might even be able to build a life out of them.
  11. Or pick up a new professional career itself! Theatre tech is a career, and one that can be highly satisfying. If you experiment and find the work exciting, you might have a new career aspiration on your hands.
  12. You hone your teamwork skills.
  13. You become more well-rounded.
  14. You stay active. Theatre tech can be a decently physical job, though it also doesn’t always have to be.
  15. You learn useful safety principles. You’ll learn the importance of and how to operate useful safety equipment, and learn important rules for keeping yourself safe while working.
  16. You learn useful design principles. You’ll learn about artistic ideas that can be used in many other domains of design and decor, not just for the stage!
  17. You get to flex different creative muscles. If you’re used to acting, trying set construction, prop design, or scenic painting can be a good way to try something new and develop new artistic skills.
  18. You can become known for some niche skills. I became known as a good “strange props” person in my local theatre communities after I made a prop dog for The Curious Incident of the Dog in the Night-Time. This has made for some cool opportunities! If you have an interest in puppet-making, handcrafting, and mixed-media art, you can find a really sweet way to put those skills to work in tech theatre.
  19. You find joy in supporting others. I’ve found working backstage to be incredibly rewarding– getting to support a performance in a different kind of way can be a lot of fun.
  20. You’ll always find opportunities. Theaters always need volunteers (and/or paid professionals!) to run light or sound boards, work backstage, or build sets! Once you have some of these skills, they can be a great way to get your foot in the door with different groups of people.
  21. You can lend a helping hand, and maybe even save the day. It often happens that productions suddenly discover they need an extra dresser backstage, or their light board operator has suddenly become unavailable. Sometimes, theaters need a volunteer to step up right away. Stepping in and saving the day in situations like this can be super rewarding!
  22. You learn to work under pressure. Theatre techs often work with challenging time constraints put on their work. They need to find solutions for big problems, sometimes while a whole room full of actors are waiting around for you to find a fix. The work isn’t always high-pressure, but working in these conditions when they arise can be a valuable learning experience.
  23. You can discover a new sense of purpose. If you become talented with these skills and develop a good reputation, you can find yourself becoming indispensable within certain theatre communities for your skills. You may find yourself becoming hard to replace!
  24. You can hang out with friends who aren’t actors. If you’ve been trying to get some of your friends to try theatre, but they’re nervous about acting, consider getting them to volunteer for set builds or run crew with you. Or you may already have friends working backstage– join them!
  25. You might be able to find paid opportunities more easily. Finding paid acting work is notorious for how challenging it is. Some shows require more technicians than on-stage talent! Finding paid work as a technician can be easier than doing so as a performer.
  26. You’ll engage different parts of your brain. We often say that some people are “good with their hands,” or “book smart”– these are just ways that certain people have become accustomed to working. Some people develop different areas of the brain more than others as a result of the things they find interesting and fun. Actors who are more accustomed to academic skills may find experimenting with more physical and technical skills to be a fun challenge.
  27. You develop dexterity on both small and large projects. From gluing tiny rhinestones to a prop you’re making to building massive set pieces, theatre tech trains a number of unique muscles both physical and mental.
  28. You refine your eye for detail-oriented work. Being “detail-oriented” is a soft skill many employers praise.
  29. You learn to be more adaptable. You have to be when working backstage! Lots of tech tasks don’t go the way you expect them to at first, and that’s okay. You learn to work around this.
  30. You build communication and collaboration skills. Almost nothing in tech theatre is a solo endeavour– you will always be working with others, asking others for feedback, or working with others’ ideas. These skills are a must!
  31. You’ll discover greater confidence with all things theatre. Once you’ve worked backstage and you understand the theatrical process better, working on stage feels surprisingly different. The greater understanding of the art and craft can do wonders for your sense of confidence, and for banishing the dreaded imposter syndrome.
  32. You test your time management skills. If you’ve been tasked with building a prop, designing a set, or doing some other independent task, you’ll have to plan accordingly to ensure your work can be completed before any deadlines set for you. Learning to manage your time well is a must!
  33. You can make some friends in high places. I have found that taking positions as a stage manager, ASM, or volunteer scenic technician can be valuable for meeting new directors and tech directors. These people can then help get you more opportunities going forward. Who you know is definitely important!
  34. You’ll appear more dependable. Showing up at set builds and working hard is a great way to show a production staff your work ethic. People will notice!
  35. You learn to think in different ways. Working with new people and learning new skills forces your brain to discover new patterns of thinking.
  36. You’ll understand how to interact with techs better. Being a technician and working backstage can be humbling. Many actors can be quite rude to techs! Working as one can teach you a lot about how to treat others, and the impression you make by interacting with techs positively and helpfully can help open doors for you.
  37. You get to participate in theatre with less of a time commitment. Okay, this one is admittedly very situational depending on the tech position. Many theatre tech positions do not spend nearly as much time working on a production as actors do. Instead of attending weeks or months of rehearsal, many techs will only participate in a fraction of the process. If you enjoy theatre but don’t have the time to commit to a whole production, tech may be a great option for you!
  38. You learn to be inventive. I have a friend who calls theatre tech work “making gold out of trash.” You’ll often find yourself working with odd materials, on a low budget, with minimal assistance– the process can be very freeing, and a little crazy in the best way.
  39. You may find the experience useful to include on a professional resume. As I’ve said before, theatre tech is a great opportunity to learn both hard and soft skills. Listing your tech experience on a professional resume can help you resume stand out– unusual skills can provide interesting discussion in an interview! When I told a hiring manager at a retail chain that I had learned how to weld, we had a spirited conversation about it because it turned out she was also a welder… I ended up getting the job.
  40. You’ll have fun! Tech is hard work, but

What reasons have you found to enjoy technical theatre work? I would love to hear about peoples’ experiences in the comments!

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Actor Life, Guides and Tips, Theatre

The Secret to Success in Performing Arts: Mastering 3 Vital Traits

Posted on by Thtrthts

I’ve been around a lot of performers in a lot of different settings. I’ve directed, I’ve taught, I’ve acted, I’ve watched from both the audience and the stage manager’s booth. Every performer is unique, and everyone has their own strengths and weaknesses. Yet, in all of the actors, dancers, and musicians I’ve worked with, I have found that there are exactly three traits every truly excellent performer has in common.

These traits are instrumental to success in the performing arts. You won’t get very far without them, and having them can put you on top in close auditions.

If you can honestly say you have these three traits, then pat yourself on the back! If you’re not so sure, read over this article closely and do what you can to pick them up immediately.

Continue reading →

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directing, Theatre

What I Learned as a First-Time Community Theatre Director

Posted on by Thtrthts

Directing for the first time is a learning curve nothing can really quite prepare you for.

In 2022, I got the opportunity to solo direct my first full-length play. My production of Qui Nguyen’s She Kills Monsters ended up being a big success and one of the better selling plays in our community theater’s season! I had a blast, and I also discovered a lot. 

Here is what I learned from my first directing credit!

Read more: What I Learned as a First-Time Community Theatre Director

Staring Early is Key

I began making plans for my production in earnest in 2020. While the world was shut down, I had little else to do, so I spent time workshopping designs and reading and re-reading the script. At this point, I had no idea when I would get to put on the show, but I was adamant that I would get the chance to somehow, somewhere. The play is one of my absolute favorites, and I had dreamed of directing it for a number of years by that point.

The benefit of starting so early was that I had a lot of extra material to bolster my directing proposal packet. When the theater asked for directing candidates for 2022, I was ready! The board was impressed by the work I’d done, which made my pitch all the more appealing. 

Starting early also meant that I had to do less work during the run of the show itself. Which was great, because…

Every tech and design element will take 2 to 3 times longer than you think 

Having a solid base of pre-production work to operate from proved very important. In fact, I should have done more. Without a costumer or a dedicated props person, I ended up spending days during the rehearsal process working on various props and monster costumes. It was creatively fulfilling, but super hard work. I had a specific vision for how I wanted these done, and I had a method that worked for me, so I was determined to finish them myself. It took forever.

Speaking of which…

You absolutely must learn the skill of delegation

This is a skill, because it is absolutely something you have to learn how to do. 

At our first set build, I was an absolute mess, a chicken with my head cut off. I was trying to give directions to everyone, about everything, all at once. I would give someone a job, and by the time I finished explaining instructions to the next person, the previous would be done with their task and coming to me for a new one. I ended up becoming a bottleneck in the whole process— we had so many volunteers, and because I didn’t plan properly for delegation, I couldn’t use them all effectively!

Part of this issue was simply the way this particular theater works, in which the director usually wears a lot of hats and does a lot of things themself. Don’t get me wrong, I’m a control freak, so I kind of love working this way. Designing practically every element of the production was super exciting! But the work also could’ve turned out much better if I had let more skilled people take the reins on certain things. Letting others take the reins requires some more pre-thought and communication (which is also a learnable skill). It’s worth it. 

It’s important to know a little about everything in theatre

I went into this production knowing basically nothing about lights or sound, and boy do I wish I had known more. It was difficult to communicate with my light and sound techs because I didn’t have the vocabulary to express my desires.

Before directing, it is very helpful to volunteer for and learn about as many different tech positions as possible. Many community theaters are always looking for sound and light board operators. Stage managing (or assistant stage managing) is also a valuable experience, as you’ll be at all rehearsals and can observe up close how a director works. It also gives you a good idea of some of the more practical elements of a production that many actors don’t think about— good, hands-on experience with planning, paperwork, and problem-solving.

You can probably get more done in one rehearsal than you think

Maybe this is just a me thing, but I thoroughly under-filled our rehearsals. I just really thought we wouldn’t be able to get as much done as we did. For the first month of rehearsals, we’d inevitably end up finishing everything I wanted to do within the first hour and a half to two hours of rehearsal, and then we’d end up drilling or dipping into stuff we had planned for other rehearsals until the end.

This wasn’t really a bad thing— I actually think scheduling your rehearsals just a little light so your cast has time to mess around, have some fun, and get to know each other can be really good for morale and the group dynamic overall. Not planning rehearsals to be more efficient started to bite us towards the end of the process, though, when everything always gets a little crunchy and nerve-wracking.

Don’t be afraid to plan your rehearsals rather heavy on activities. Just know that the more work you plan, the more rigid you have to be about staying focused.

Attendance and the schedule will probably be a little bit of a mess, no matter what

I was really adamant about planning out the entire rehearsal schedule in advance. I did… and then we had a slew of conflicts come in anyway due to illness, changes to another local production’s rehearsal schedule, childcare surprises, etc.

Turns out, you just can’t really organize a group of peoples’ schedules perfectly. This is why it’s super useful to have a number of “TBD” days in your rehearsal schedule, so you can catch up on things people miss. (I list these as full-cast rehearsals on the schedule and whittle them down to whoever is actually needed. Or, if we’re all caught up, they can be cancelled altogether. I only had a few of these sprinkled throughout the process, but I wish I’d had some more. You can cancel an extra rehearsal, but you can’t ask everyone to clear their schedules at the last minute to add an extra rehearsal.)

If attendance is truly a big issue for your production, you can of course fire actors who are especially unreliable. I never felt like the issue was that serious for our show.

Also, no matter how direct the schedule is, or how clear the daily call is, or how many times you said it at yesterday’s rehearsal, you will have people asking you what you’re doing that day. Always. You’ll have to embrace it. 

Giving direction is one of the hardest parts of directing

It’s not enough to know what you want (although this is a step I think a lot more directors should spend more time on). You also need to know how to steer your actors there.

This is a skill that thousands of pages of directing theory have been written on. There’s actually achieving the performance you’re trying to get from an actor, and there’s also doing it in a way that doesn’t demoralize them. Maybe I’m just too polite, but discovering how not to feel guilty giving actors repeated notes was a harsh learning curve for me. I’m still working on this today.

This is something that only gets better with practice and wisdom. Reading books on directing is super helpful, and working with lots of different directors to examine their manner is awesome. But in the end, learning to do it yourself is just really hard. Try to get experience any way you can. 

You also have to let the actors be

Some of the best and most creative decisions that will be made during the production process will come from the actors themselves. No amount of pre-planning can really prepare you for the individual chemistries and personalities of the actors in the room, so don’t be afraid to let your plans change, and let the actors do the jobs you selected them to do.

You are the director, and you ultimately have creative control. You do have to learn the art of reining in choices you don’t like, and helping actors find choices that adhere more closely to your vision. But it’s also important to learn how to let the actors take charge themselves.

Suddenly, you’ll find you have nothing to do

There is a point at the end of the rehearsal process where, after weeks of absolute panic and endless toil, you will suddenly find your to-do lists empty. Everything will be humming along without you. You will miraculously find yourself empty-handed, wandering around the theatre as your actors prepare to perform independently of you. 

Some directors will work backstage during their shows, or run lights or sound for their productions. As a first-time director, I wanted to be free to just watch my show. It was very odd when things all at once changed from being intensely dependent on me to not dependent at me at all.

At a point, the show is no longer quite yours. It belongs to the actors. You have to pass it over gracefully. 

You can never quite be 100% ready

You’ll always be kicking yourself a bit during the production process, wondering why you didn’t taking the time to learn more about X or Y or Z beforehand. That’s okay. Embrace the information you have now, and welcome the learning process.

And as the production deadline comes rushing at you, you’ll inevitably be wondering how you’re going to get everything done in time. You’re just not ready yet. You could, hypothetically, continue refining and reworking a show forever. But that isn’t how most real-world theaters work, so you’ll have to let it go, whether you feel quite ready for it or not.

Directing for the first time is the hardest thing you’ll ever do, and also one of the coolest

It is a boatload of work. No one else will completely understand how much work it is. You are doomed to be the person who cares the most about the final product, and yet, in a roundabout way, have very little bearing on exactly how that product turns out. You will forever be learning and being horrified by what you didn’t know you didn’t know. You will put literal blood, sweat, and tears into the process.

And when it’s done, you’ll be dreaming about when you can do it again. 

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Actor Life, Theatre

The Single Most Important Skill in Theatre: Knowing When to Get the F*ck Out of the Way

Posted on by Thtrthts

I’ve spent my fair share of time building sets and working run crew. When surrounded by fast-moving set pieces, people carrying heavy objects, and other moving parts that could easily hurt you and others, you learn very quickly the importance of getting the f*ck out of the way.

I’ve also done my fair share of performing, and I’ve even done a little directing. In time, I’ve discovered that knowing when it’s time to just get out of the way is in fact the most important skill any theatre artist can develop.

Physically, mentally, and emotionally, sometimes the most important thing you’ll do on stage is just f*cking move and let the others do the work they’re there to do.

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Actor Life, Theatre

The Comfort in Saying “I Can’t”

Posted on by Thtrthts

I would love to be a belter. One of those pure Broadway belters who can effortlessly hit high notes all day long with their perfect, clear tone, as if it’s the most normal, natural, easy task ever. It’s something I’ve been really trying to work towards ever since I started performing– and, speaking humbly, I think I’ve made some strides.

I’d also love to be a dancer. But I “can’t dance.” Guess how my dancing skills have developed?

If you guessed, they haven’t at all, you’re probably more or less correct. At least, I don’t think my dancing skills have developed. But I haven’t really been looking for improvement in that area, anyway. That’s the beauty of simply saying “I can’t.”

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Actor Life, Theatre

Rest, Reset, Grow

Posted on by Thtrthts

I write this a week after the Pennsylvania Governor, Tom Wolf, declared schools would be closed for two weeks to combat the spread of COVID-19, and days after he’s ordered a shutdown of all events with more than 50 people in attendance. Thus, he wiped out thousands of school, community, and professional theatre productions in the state. All around the U.S. and the world, the decree is the same. As of now, Broadway is not even a week into a month-long blackout.

These preventative measures are necessary, but they exact a price.

A lot of my friends are hurting. As deep into various theatre circles as I am, I’ve been hearing lamentations of cancelled and postponed shows for weeks.

Some amateur department directors fear their programs will never be able to recover financially. Actors mourn roles they’ll never get to play for an audience. Professionals are without pay for who knows how long.

Despite everything, the theatre community keeps art and hope alive. Young actors share videos of their would-be performances, clips of themselves singing and reading monologues. Professional theatre and dance companies like BalletNova Center for Dance post Facebook Live ballet classes for anyone to enjoy.

But we are hurting. Many actors have had something taken from them they will never really be able to recover.

Actors, singers, dancers, professionals and amateurs alike; Performers of every sort who have been effected by the spread of this disease:

Take this time to rest, whether you want to or not.

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