Guest Post- Week 5 -Furniture and Off-Book

The next installment of the continuing guest post series from Shanna Sartori and Katelin Dickson as they become first-time Katelin_DicksonTheatrepreneurs in the Big Apple.

sartori headshot

 

 

 

This week was full of pleasant frustrations and progress.  We had our first off-book rehearsal which feels similar to attempting a sprint in mud that is waist deep.  I can’t honestly say that I’ve attempted that, but a girl can only imagine!  All and all it went well and it was nice to be

free from the script and explore Wilde’s world more fully.  In addition to acting in the show,

Shanna and I have also been the production team which has resulted in, well, new experiences I suppose!

Most actor warm-ups connect the body and voice, however this week it consisted of carpentry and cursing.  When you are part of a modest (read pinched) theatre company, certain responsibilities that would normally be distributed to others cannot be and you find yourself painting set pieces and assembling furniture in your spare time.  However tiring these challenges are, they are part of our very own theatre company and we will never forget how incredible that is.  Once the show wraps, Shanna and I will share a bottle of wine and lots of laughs about the interesting situations we found ourselves in both before and after our long rehearsals.  Simply take a look at the photo below…
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You can purchase tickets here: http://www.brownpapertickets.com/event/344538

Guest Post – Week 4 – so much to do!

This week’s continuing guest post series from Shanna Sartori and Katelin Dickson as they become first-time Theatrepreneurs in the Big Apple.

 sartori headshot           This week began the fourth week or rehearsals. I don’t know where the month of February went! The rehearsals have steadily been getting longer, and more demanding. Loring has been pushing the actors to make these characters ours. With a show as popular as Earnest, it’s very easy to play the characters as they have been played for the past century. We are making these characters our own and that includes making decisions that may not be the most traditional or logical. With this being said, we know we have to stay true to the period so we are finding that balance.

            I have tried to focus the last two weeks on being an actor and let the producing responsibilities take a back seat for a little bit. Loring believes that Cecily is the most complex character in the show. We have been discovering she has many levels. At times she is sweet and kind and other instances she is a complete brat who can be ever so slightly manipulative. This is one of the reasons I love Cecily so much, she is incredibly real. Act II takes place in the garden of her residence. Cecily spends most of her time there, either alone or with her tutor Miss Prism. Because of this she has developed and amazing imagination. I view the garden as Cecily’s own world where she believes anything can happen. Act II is my favorite because suddenly everything Cecily has ever dreamt of and imagined is coming true. As a cast, we love rehearsing this act.

            Act III on the other hand is proving to be more difficult. It’s a scene essentially between two actors and yet every actor is on stage almost throughout the entirety. Nothing and yet everything is happening. It is very difficult, at least for myself, to listen for nearly 20 pages with very little dialogue and still appear alert and interested. Last night we rehearsed this act for almost three hours and we were all exhausted after. It’s funny how tiring just sitting can be.

            Tickets go on sale March 1st through Brown Paper Bag Tickets. This week we begin our hunt for set and prop pieces. We also have to begin advertising and get our postcards ordered, printed, and distributed. These are things that I will be focusing on over the next week or two. We have come a long way in the past month and still have a lot more to do in the next.

Guest Post: Acting and Accents and Costumes, Oh, My!

This week’s continuing guest post series from Shanna Sartori and Katelin Dickson as they become first-time Theatrepreneurs in the Big Apple.

 sartori headshot           Our Indie Gogo Campaign ended this week, and we far exceeded our goal of $3,000. In the end we raised $3,545 through the site. That number doesn’t include all of the private donations we received as well. The process of fundraising proved very rewarding and I was genuinely touched by how generous people were. If not for all of our lovely family and friends, this show wouldn’t be possible.

             Week two of rehearsals has come to a close. To save money we have been alternating rehearsals between my apartment and The Producer’s Club. Our costumes have been ordered. We are using a place called The Costumer, located in upstate New York.

            Kate and I have been finding it difficult sometimes to focus during rehearsals. Our minds have been in a million places, costumes, fundraising, and stage manager duties to name only a few. We were both leaving rehearsal feeling like we weren’t making the best use of our time. To resolve this issue, we gave our director Loring more of the stage manager’s responsibility until we have someone for that role. During rehearsal, that means we don’t have to worry about staying on schedule, ect. As a cast, we also began doing group warm ups. This not only helps build ensemble, but it also helps Kate and I leave the rest of the shows duties at the door and focus on the next three hours as actors only.Katelin_Dickson

            I realized that doing a British period piece is a big undertaking, especially when it’s the company’s first show. With a contemporary piece, accents, movement, costumes, set, would most likely not be quite as big of a focus. Since we decided to perform Earnest true to the script and time, we have a lot to work on as actors. It’s proving challenging, but also exciting. I don’t mind putting countless hours into all aspects of this show because I love the play so much and am so passionate about our production. I know after all is said and done, I will leave this experience feeling very proud.

algernon and cecily

     castmiss prismlady bracknell and algernon

 

Casting Week!

Guest post from budding theatrepreneurs, Shanna Sartori & Katelin Dickson.
Their journey continues


The First Steps

sartori headshotAfter Kate, Loring, and I committed to the idea of producing The Importance of Being Earnest, our next task was to find our cast.  My roommate Jill Pettigrew, another Keene State College alumnae, currently works in the casting world, so when she offered to cast our production we leapt at the opportunity.  A very early lesson that Kate and I have learned thus far is that if people offer you something when you are starting with nothing, you should accept it graciously!  We kept the casting session small and booked a room at Ripley Greer Studios on the Upper West Side.  As our actors arrived, so did our first hurdle… Several opera singers began to filter in to our modest waiting room and they just so happened to be rehearsing in the room next door.  Opera is a beautiful art that fills places such as The Met, if you can imagine cramming all of that talent into a 10×12 foot room than you can understand what we were up against.  Thankfully our talented cast not only impressed us at this challenging audition, but we like to think they left having a deeper appreciation for the many arias that became their scene partner.  Perhaps their cast gift should be a recording of “Ave Maria”?  Or, perhaps not…  

Katelin_DicksonWith our actors on board we swiftly planned our first rehearsal.  We gathered at Loring’s apartment in Astoria and over some wine, had our first read through.  Those two or so hours Kate and I were in a complete state of bliss.  We knew the characters we were playing would bring us joy, but what was even more fulfilling was realizing that our idea to produce this show meant we are able to share this great play with so many other people we care about in our lives. 

With a rehearsal schedule made, things seemed to be running very smoothly.  Our fundraising was going exceptionally well, and I booked our theatre at The Producer’s Club for our run.  My boss was able to introduce me to his friend, who is the owner of The Producer’s Club, so we enthusiastically accepted a discount on the space.  (Another example of an outside source offering help which we certainly accepted).  Kate had also secured a meeting with a Broadway producer named Sean Cercone who mentored us for an afternoon on producing our first show and how to start a theatre company.  All of our cards were falling into place, or so we thought…

Then, two days before our first rehearsal, I received a phone call from our Algernon.  He told me he felt he had bitten off more than he could chew and decided to drop out.  We had no Algernon, and because I offered him the role before our casting session, we hadn’t auditioned anyone.  We scrambled to pull actors together to audition on Saturday, including making a few ‘house calls’. We wound up casting Matt Braunsdorf as our new Algernon, who just so happens to be another KSC alumnae.  

This week we begin rehearsals, and it feels good to finally get things moving.  In addition to beginning rehearsals, we will be wrapping up our fundraising in ten days.  Our “to-do list” includes hunting for set pieces, props and measuring our actors for costumes.  With everything going on we sometimes forget we’re even in the show, but these mixed feelings of anxiety and excitement are a reminder that this is real and we are making it happen. 

[Katelin and Shanna are only $350 away from their Indiegogo goal and they still have a week to go! If you would like to check it out, here’s the link]

The Birth of an Idea

sartori headshotGuest Post from Shanna Sartori

The Birth of an Idea

The first time I read, ‘The Importance of Being Earnest’ in high school, I fell in love with it. In college I never got the chance to do a full production of the show, but I worked on it whenever I had the chance, in acting classes and theatre festivals. My dear friend, Kate Dickson, was my partner in crime and together we would take on the roles of Cecily Cardew and Gwendolen Fairfax.

  After graduation, Kate and I moved to New York City together. After living here for almost five years, I thought it was finally time to make our dream a reality. I approached another KSC alumnus, Loring Griggs, who had directed me before and asked him if he would be interested in taking on the project. He was more than happy to agree and by the middle of January we had a fully cast show. ‘The Importance of Being Earnest’ will be opening the first week in April at The Producer’s club in NYC.

A Theatre Company

 Kate and I decided to take things one step farther and not just produce and act in a show, but also form a theatre company. Loring had the idea of bringing, ‘The Importance of Being Earnest’ to KSC and work shopping it with the students. We all realized there’s a lot to be learned in between graduating and becoming an actor in a big city and we thought that through our show and a talk back we could share some of what we have learned post graduation. This is what gave us the idea of becoming a not for profit with our goal being just that.

 We are starting entirely from scratch so we launched an indiegogo campaign to help us raise the funds to produce this show. Our goal is to raise $3,000 and not even two weeks into our campaign we have raised almost half of that.

Shanna Sartori is a founding member of The Night Owl Players. We are following their progress as they start their New York Theatre Company. They have already reached over half of their indiegogo goal. You can check it out, here.

The Drilling Company – Theatre Like Jazz

(FYI:Hamilton answered questions from members, for ten days after this post went live. I will be doing this with future interviewees so, if you would like to join in the fun, post your details in the box to the right.)

Hamilton Clancy, artistic director of The Drilling Company, tells it like it is, in the off-off world. 

Can you tell me when you created the company?
We began the company in 1999. That was our first production, and it was always in my mind, even at the very first production, we were always moving towards the idea of a company, something that would be organized and incorporated.

What was the mission you started with, and has it stayed the same?
The mission we started  out with, is really great for me to talk about because that’s really my favorite mission. The mission that we started with was The Drilling Company is like jazz, we integrate a variety of voices along a common melody line, and produce something that is new and has never been heard before. That mission in our early years, I was told, was too artsy for grant people, so we have since developed a mission that says something more to the point that the Drilling Company supports in every way and fashion imaginable, new writers and their endeavours to create new work.

So, if that is your official mission, is your heartfelt mission different?
My heartfelt mission is the same. My heartfelt mission, which is still part of our mission, is to create theatre experiences that integrate people from all different walks off life and different communities. At the time, what I saw was not only racial division in the communities that were gathered to see theatre, but socio-economic division, geographical division, all sorts of things that made each production very targeted to a very particular audience. I thought that that was a response at the time, it still is, to our market dynamic, which basically says, identify the niche who’s interested in your work and then target them with the work, and create work that is targeted for a niche. And the dilemma I saw was that we weren’t seeing enough work and enough motion that was really integrating communities; that people were even having a loss of the idea of community. They were with a bunch of people who were the same as they were, and not experiencing enough of people who were different.

Would you say you were consciously moving away from that niche mentality?
Oh, absolutely consciously moving away from them, and failing all the time. I would be silly to sit here and claim that we didn’t have a very particular kind of person who was interested in new work,  and a very particular kind of person in……I’m not interested in defining that person, or limiting our exploration to meeting the needs of that person -I’m more interested in creating an exploration that’s accessible to people from a wide berth of experiences. That’s why we eventually were led to the other program that we added most prominently to our work: Shakespeare in the Parking Lot.

Jazz

When did you add that?
We began co-producing with a company called Ludlow Ten in the summers, around 2002, and we co-produced with them for three years. We have been the sole producer of Shakespeare in the Parking Lot since 2006; we’ve basically inherited this terrific tradition down on the Lower East Side. It really works for us, because the environment of that parking lot brings people together from all different walks of life in a very spontaneous fashion. So, the way in which the Shakespeare is presented and the area in which it is presented, creates a very similar energy to the energy we hope to create around the new work that we do. We felt it was sympathetic with our mission to create this jazz like experience in the theatre. And when I say jazz-like experience, a lot of people they think that I want to make music, of course, obviously because jazz is music, but what we really want to create is a communal experience which integrates a variety of elements that is satisfying to different people within the experience. I can characterize where it became crystal clear, should I tell this story, where this was clear for me?

Sure.
In the very first production we did, it was called “In the Car.” And there was a scene in which two men kissed. One of the actors who was in the scene, their father was going to come and see the play and they were a little sheepish about it, and they said, ‘yeah well, my father would never come and see a play like this, ever,’ but since this actor had written another one of the other plays that was in the evening, this man was going to be in the audience. I thought, ‘wow’ the potential for exposing people to new things if you give them something that they’re interested in and then add the new thing along the way is really terrific, and that really is the only way you can hope to introduce a wider audience to snew ideas or new ways of doing theatre.

So, that happened very early on, and it became really clear to me how these projects that we do around common themes, which has been our raison d’etre since the beginning, has a greater raison d’etre, besides the plays.

To have all different writers write all kinds of plays based on a common theme, really does seem to be like jazz, ‘cause jazz has a theme and all the instruments—
Exactly.

Roots

How did you come up with your name?
There are two stories to that. The one and the quickest is that we wanted something that described what we were hoping, what we thought matched what we were trying to do, which was drill, seek for new work, right, and this idea of drilling that people had for oil, we thought about that oil was this resource people were looking for and they associated great riches with, and we thought drilling for new writing was a great resource that we were seeking; we thought it was a good an apt metaphor. But the real way I came up with the name was that when I was a kid my mother’s family had a company  called Booker Drilling Company, that was my mother’s maiden name, my grandfather had started this, my uncle  kept  it  going  and  it was  sold  early in my  youth.  It  was actually an oil drilling company.

There was an actress I  was in an acting  class  with . Her  last name  was  Chrysler. I’m not  making  this up.  She  was  part  of  the Chrysler  family – as in the one’s  who  built  the  building.She was  extremely  enthusiatic  and I had  helped  produce a  showcase  we  were  all in and  she  wanted  to  do another  project. We  had a meeting  one  afternoon and I  was  sitting  in acting  class beforehand  trying  to  come  up  with  what  we  would  do  next  and it  just  sort  of  hit  me  that  I would  propose  starting  this  theatre  company  where  we  asked  playwrights  to  write  plays. And I  thought  we would  call it  The Drilling  Company for  the  above  reason.

The  Chrysler’s  wound  up  donating  $800 to  get  our  first  production  off  the  ground.  By New York standards it  was a  very modest  beginning  but  it  was  something. I thought  it  would  be creative  to  take my family  legacy  and  turn it on it’s  side – making  what  sounds very industrial into a  conduit  for  creativity. Some of my family made early donations of anywhere from $50 to $500 to kick us off.

That was in your first year?
Yeah, that was in my first/ second year, so it buoyed some of the production in the first year, but when I started I  really had  no idea of  how  expensive  it  is  to  create  theatre  and  maintain a  company of high standards in New York City. We have always been pulling ourselves up from the bootstraps because we are basically an actor/writer company. Actors are obviously New York centric, because they have to be here to perform, but the writers do not have to be, so we rely on a real grass-roots approach to every project. We have had limited access to the kind of supporters who have deep pockets. But we have had the kind of supporters with deep hearts. And those kind of supporters really keep you going, because they remind you of the reason you started doing this in the first place. And they come to expect a certain joie de vivre to occupy the work and to let you know when it’s not there, so I find that that is the best kind of audience you could have.

I’ve seen people, actors with the driling company go above and beyond the role of being an actor with The Drilling Company. They seem fiercely loyal and they almost have an emotional ownership or part of TDC. What do you think has created that?
Someone said something to me early on,  that in your theatre company you will attract people who are like yourself, so tend to yourself. And when somebody said that to me, I thought they were full of baloney, I just thought come on, the people who are attracted to my theatre company, they’re all so different to me. None of them are like me in any way shape or form. I would never accuse them of being like me at all, but nonetheless, I would say that to whatever extent I hope, I try, to bring is some sense of integrity; to try to keep that as much as possible.

You have to make a lot of concessions to keep something going, and most of the people I think of who you speak, I think of them who have more integrity than I do. So I can only say, is that I have actually sidled up to people who have more integrity than I do, so that I look better than I am. And, I’ve had very few experiences where someone has come to the table with that kind of integrity and not had the talent to back it up. I have to say that I filter for that at all levels. Sometimes you work with people who don’t quite get it, you work with those people one time and you don’t work with them again; they don’t normally want to work with you a second time either, so it’s okay.

You were talking about your company that pulls yourself up by your bootstraps, what is your biggest challenge on an ongoing basis?
Fundraising.

How do you go about fundraising?
Cultivate donors who’ve donated in the past, try to discover new interested parties who might be able to help continue the mission.

So, how do you do that?
We have two yearly mailings, a yearly benefit before one of the shows, sometimes two depending on our board of directors, their schedules and desire. You rely on your BoD to make some associations and introductions, new people who might be interested in helping the company to continue the mission. And the cultivation of that economic support and the organization of that is, well, that’s very difficult. It’s very difficult for me, being a professional artist who is still engaged in my own career, the administration of a not-for-profit theatre company, it’s a very dry business. It’s not very exciting, and it involves a lot of paperwork. Someone once said in an early meeting to me, they said look, if you don’t like paperwork, you shouldn’t start a 501c3. That was some of the best advise I have ever heard given, because if you don’t like paperwork, you should not start a 501c3.

What is a 501c3?
That is the US govt’s code for a not-for-profit organization.

How many hours a week would you say you devote to administration?
How many hours are there in a week?

I don’t know. A working day, twelve hours a day—
Um, I would say that’s a misguided question. I would say, with all due respect, that that is a question that my wife would ask me in the best sense, hoping that I would be able to give her an answer that would be able to be the same from week to week to week. And yet, it cannot.

Would you say you have more admin running up to a production opening?
Yup. The difficulty is this: when you have a production opening, like right now, you spend more time on the artistry because there’s a production opening. You’re producing your art.

You’re in your shows?
Yeah, I’m frequently in my shows, or directing my shows, or I take part as an artist. Yeah, absolutely. But I’d say to you, in answer to your question, how much time it takes, the time it takes is relative, the way the industry thinks of it; the world thinks of everything reletive to the size of your budget. So, the presumption is that you do not spend more than twenty hours a week volunteering for any not-for-profit organization.

That’s everything, or just the admin?
Everything. That’s the presumption.

And the reality?
The reality is in art we do what is necessary until it gets done right.

And that could be fifty hours a week, forty hours a week.
Yeah, go see Sunday in the Park with George. Finishing the Hat. That’s the deal. You’ve got to Finish the Hat. It’s not done ‘til you’ve finished the hat. I mean I, that’s the deal. It’s always that and that particular understanding for me, at least, if you take the metaphor of finishing the hat, the artist painting the picture, finishing the hat, that’s a beautiful thing, but if you take the metaphor of the artist writing a grant, which might not be the artist’s forte, might not be something the artist has learned, and yet they apply the same  finishing the hat dedication to it’s completion.

And you write letters to them, so that’s another admin thing you have to do?
Yes.
The grant and the grant seeking, that’s a tremendous amount of time and effort, and then probably the biggest thing that takes time in running a theatre company is keeping the books. Don’t let anybody ever fool anybody; keeping the books….

Takes. A lot. Of time.

….I would not be doing right by my interview about the company if I was not clear about one thing. I could not, would not and would never have continued in this endeavour if it were not for my wife. My wife, Karen Kitz, has been an inspiration, and since the birth of our son she’s stepped back in some of her engagement, but having somebody who actually is really there with you to answer some of the tough questions in some of the tough times makes all the difference in the world. I’ve been very fortunate, very lucky. She is a  remarkable person.

So that leads me onto the next question. How many people are on your board, what is the board?
We have a five person board of directors now. It’s about right for an organization of our size.

And when was that established?
In 2000 when we were incorporated.

Can you talk about that? You got your not for profit status from the grant?
No. How it worked is, I registered my identity as ‘doing business as’ here in New York first, then I incorporated and then I filed for my not-for-profit, all in the first year. By the end of 2000 I think I had gotten all that. I think I got my not for profit number in the Spring of 2000..

And you were called The Drilling Company and that was all fine?
Yeah. The only reason I opened a DBA was because—It’s called a DBA account. You open a DBA account at a bank, so I was basically Hamilton Clancy doing business as The Drilling Company. It was really an account in my name with The Drilling Company on it, and over time, as we got incorporated, that morphed into our business account.

And how did you find out how to do that?
I walked into the bank and started asking questions.

I’m starting a theatre company, what do I do?
Yeah, I figured I had some money, I wanted to have a company that said The Drilling Company on it. I just figured all the way along that I wanted to have stuff that had our name on it.

And how often do you meet with the board?
Well that’s always  evolving  because  board members  change  and  sometimes  the  board  shifts  to  accommodate  new  board members . We  are  in  the  process right now  of  developing a meeting  schedule  for  the  board. I would  say a  couple  of  times a  year. It varies from year to year. Sometimes it’s  three or four times a year, sometimes it’s twice a year. Just depends upon the way, sometimes corporate schedules and artistic schedules are not the same.

Now you’ve been doing this for over ten years, so, looking back at Hamilton Clancy in 1999, what would you tell him to do differently? What do you know now, if only I had know that I would have done that?
(Long pause)

Well…

That’s a hard question. I’ll tell you why that’s hard for me. I insist normally that one always has to look at one’s past as being the preface as being the success of one’s future.

Okay. Young student coming out of drama school now, setting up a theatre company, what would you say to them from your experience? Admin? Get a temp job?
I would say to them spend time in the woods with yourself before you begin, so that you know as well in yourself as possible why you are about this endeavour.

I would say to spend time collecting around you material, essays about the theatre that inspire you and remind you that theatre is an important place to be, an important thing to do, because you will need them. These will be your antidepressants. As you go along the road, you will need to be reminded by the great voices and the great minds that have gone through time, when they have sat down and written about the theatre, why you are going about this task.

I would say that to whatever extent that you can divest yourself of full responsibility the earlier the better, that the more you share responsibility within the organization, the more healthy the organization both will look to others, and will in fact be.

I would say create a box, perhaps it would need to be the size of a laundry basket, but start out with just a box, for all letters, memos and details of discouragement. They should be put aside in a box and kept there, the ‘no you don’t get a grant’ etc, etc. They should be kept in a box and kept there, so they can be duly looked up if someone wants to see why you have been discouraged. But so that you do not have to run across them in your daily activity, but can move on with wisdom and grace as you go forward in the battle.

And where do you see The Drilling Company in ten years’ time?
I think that some of our playwrights will be produced on a regular basis and I think our Shakespeare in the Parking Lot program will have grown to touring and possible other locations. So, I envision in ten years that we will have a community that is not only thriving with artistry, but is also thriving fiscally and economically. And that is the sensitivity that, when you are in the middle of your run, you have to begin to pay more mind to, because we all got to live in the world. And if you want people to be part of your activity, then your activity has to address some of the challenges that we all face as professional artists.

 

Thank you.


 

The Drilling Company produce short plays around a theme and full length productions at their own theatre space: The Drilling Company Theatre for New Plays, and Shakespeare in the Parking Lot in NYCs Lower East Side.

What is a Theatrepreneur and Why You Should Be One.

I’ve been reading a ton of small business and social media blogs, lately – ordinary people taking action, making their business lives unfold in the direction of their desires.  

 I have a great admiration for people who do the same in the theatre world

 When I moved back to New York several years ago, I was struck by how the artists in New York’s downtown scene never wore just one label; there were actor-producers, writer-directors, director-producer-writer, actor-producer-writer-artistic directors. Having cut my theatre teeth as a London Luvvy, this was very new to me. In London, theatre artists were defined by one profession– You were either an actor, a director, a writer, a technician, a stage manager, a designer, a producer, etc, etc. No double-barrels. Ever.

 To that end, I never quite fit the mould.  I was a double-barreled artist from the start.

 See, I worked a lot as an actor-musician. (See the photo to the right, of me in Cabaret, directed by John Doyle)

Far from this being considered double the value, and double the talent, it was frowned upon in the UK as meaning only having half the ability of each. Diving headlong into New York’s downtown theatre scene was like finding my home. (I, also, found my husband there)

I am in awe of the producers, directors, theatre company-starters, artistic directors, actor-producers, writer-director-producers (you get the picture) who actually make theatre happen. By that, I mean, the business part of the business. I know, I know, ‘business’ is considered a dirty word for some of us industry folks. But it is a business. Yes, as well as being an art and a center of creative expression, theatre IS a business. A business based on an art form, a communal art form, but a business, nevertheless. A business for which people feel great passion, take huge risks, win big or lose big. I am not saying business is what drives and motivates this industry but I am saying that it is the shadow half, the part no-one really likes talking about.

 ‘Theatrepreneurs’, in my definition (and I think I may have created the word), means: People who Make Theatre Happen.

They are visionaries, in the true sense of the word –  they see a future they want to create and take the action to get there.

 I have been fortunate enough to interview some amazingly inspiring theatrepreneurs; people who have made theatre happen. Please check them out, and do let me know if there is anyone you would like me to interview (along with their contact info, if possible)

 

Whom, do you think, is the most inspirational Theatrepreneur? Who would you like to see interviewed on this blog? Tell me in the comments below.

Epic Theatre Ensemble: How to Be a Hit from Day One

Theatrepreneur Interview: Ron Russell

The inspiring team behind Epic Theatre Ensemble, were able to pay themselves and make an impact, from Day One.
Even when Day One turned out to be 9/11.

I had such a great conversation with Ron Russell, executive director of Epic Theatre Ensemble, over cappuccino and cake. (You’ll hear the baristas in the background)  A must for anyone desiring to set up their own theatre company.

Check out their latest productions, Dispatches from (A)mended America & Hold These Truths, which have had rave reviews! http://epictheatreensemble.org/

 

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True to Epic Theatre Ensemble form,  join us for the post-blog discussion on facebook: https://www.facebook.com/alizag/posts/444307008960563

Rockin’ Write Out Interview: Micheline Auger

Meet the Innovative Playwright and Write Out Front creatrix, Micheline Auger.

 

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It Never Rains But it Pours..

  ….right? In this business, you can go for months with not a drop of work in sight then, boom, three jobs come along at once. Like buses. Or boyfriends. (Only joking about the boyfriends)

I have just started rehearsals for a New York premiere of a popular Croatian play by Miro Gavran, All About Women, directed by the Serbian director, Sanja Bestic. The play is a lot of fun and was originally written for three actresses to play five roles but Sanja has cast it with nine women each playing two roles. I believe this is the first time I have ever worked with an all-female company of actors.

Here’s the pouring part – in the same week, I was asked about my availability for another production, happening almost simultaneously with this one, and then, I was asked about my availability for yet another production! Not only that, at the same time, a company in Australia – who produced my play Magnolia Day last year – requested three of my short plays for consideration in this year’s festival. Two days later, it was announced that my play, Love Dust, had won a place in their 4 Short Plays Plus Festival, produced in April, in Sydney. This is all in the space of less than a week! I have also been asked to write a short play for The Drilling Company’s upcoming season, and was thrilled to hand in a copy of my new full-length play to my agent, last week.

It never rains but it pours.

Scientists! Explore this phenomenon! You are hot and then you are not. It’s like the second law of thermodynamics, but with work. You have a whole bunch of it, concentrated in one period of time, then it sort of…fizzles….out… 

[Pic is of Technical Rehearsals for Military 4Play at The Hangar Theatre]

 

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