The "Dry-Spell"

There is this alleged “dry-spell” when one receives the Equity Card. Everyone is excited to finally get the recognition that a simple piece of oaktag provides, but there is also the fear of the period of time right after. Who knows what actually “causes” this, the time in which we as actors don’t book gigs even though we’ve just proved that we have something in us that puts us on the same page as all other professional actors. The “dry-spell” is accepted. People just deal. 

I don’t like this, and I refuse to buy it.

Life is and should always be full with artistic intention whether cast in a show or not. I believe that this outlook can only bring good things. By staying open with an assured sense of beautiful things to come just around the riverbend, -  

- further inspiration for the positive steps to take can only be taken with grace and confidence. It’s with this mentality that we are immediately open to meet new and eager talent in this surprisingly small city who come together to create great work in the times when the commercial theatre industry may not need us. 

When I’ve been open to the joy and harmony that art brings, new artistic adventures and opportunities spring forward into view of any shape or size, all being equally beautiful and important in my life. That is what I will hold onto, not to the fear of the “dry-spell”. 

I am committing to staying open, to listening. 

It is time to break that spell before it even begins; I will be the one who does not let that supposed possibility hold me back. The “dry-spell” is quite simply a human creation from times that, yes, have happened before, but never 100% of the time. People who are affected by the “dry-spell” are the ones who let themselves be a part of the depressed, fearful, stressed percentage in this timing bracket. 

CHOOSE HAPPINESS (as Ms. Cassidy Boyd would say). 

Does this mean I feel I’m going to be cast in a show within the week? 

No. (If I do though, fabulous!)

What I’m trying to get at in this blunt manner is that whether I am cast in a show or not, that doesn’t mean that my life will ever be void of my artistic endeavors and jubilation. My art is my life and my life is my art. No one will ever be able to be take my artistic-living life away from me.

Instead of a “dry-spell”, I am entering an “art-filled-spell”. Here I am World! I’m ready!

To start this “art-filled-spell”, I have great news. I have just locked down on a place and time for a performance of my brand new cabaret, “Braver. Stronger. Smarter”: An evening with me as I recount moments of my first love, my father, and the auditioning world of commercial musical theatre through an unconventional combination of stories and show tunes. I have paired up with my awesome director, Martin Peacock, and my amazingly talented musical director, Shannon Collins, all pulling together some stories of mine for a new, edgier view of what cabaret can be. 

We will be at The Duplex Friday, October 14th at 7:00 PM. So mark it in your calendars now for a fun night of songs and stories!

This performance is only the beginning. With only one night, my hope is to have family and friends come out and share this experience with me: my first ever solo show in NYC. From this night, we hope to expand, find what was intriguing within the piece in performance, and continue to create more cabarets to be marketed to a wider audience, including cabaret fanatics as well as high school and college communities around the country. 

I am so happy with where we are going with this project. Please stay up to date on my Facebook profile about how to reserve tickets as well as how to donate to the creation of this piece. 

Here’s to an art-filled life for everyone! 

Whether it’s your career or not, commit to doing at least one artistic action a day simply for yourself. Sketch a tree, sing a little louder in church or the shower, go out to see a show or movie, or even write a journal entry or blog post. :-) 

It’s a beautiful way to live.

Week 2 of Audition Workshop: At the Edge of the Diving Board

And in a flash, my workshop has ended. So much has happened in these two weeks that I am grateful for, and they all started with the addition of this workshop in my life. Not only did I get that kick in the butt to finally go out and get new headshots, but also my resume has been revamped and rendered down into a clear, clean, classy, and professional format. Along with these technical yet absolutely necessary aspects of the business, I was re-introduced to those basic acting necessities that accompany a good, strong audition like salt and pepper partners scrambled eggs. 

What more can I ask for? 

Well, of course coming into this class, my big dream was that on the last day of our class, when we auditioned in front of Duncan Stewart (casting director), Jesse Vargas (musical director), and Jen Namoff (talent manager/producer), that one of them would see the spark of talent inside of me and offer me some sort of job. I mean, who doesn’t want that? “Oh, you would be so great as ______. Here’s your contract; you start next week.”  

And that didn’t happen. 

With performances that vocally felt great, a few spot on acting beats, and a lot of spastic, nervous energy coming out through my hands, I had a decent audition. Definitely not my best, but I took what I had learned and how I was directed through the class and just had fun, not worrying about having to impress or perform for everyone behind the table. And I had fun. I did. I was really happy with those acting aspects I honed in on and know that they can only get stronger with the continued work through the steps I revisited in this class:

• Find the scenario that works for you. It may not relate exactly with the actual story of the show, but that doesn’t matter. The scenario of the song must have super high stakes to allow the growth of the story to soar without the aid of all other theatrical devices (lights, costumes, book, other actors, etc.). Have the scenario and then find the truth of that situation through each lyric, rhythm, and pitch.
• Understand that you are only talking to your imaginary scene partner. One person. Pick that person and simply talk to them. 
• Ask this: What am I saying? Don’t just tell what the song is doing, what the song goes through. Just do it. 
• Create a journey: beginning, middle, and end. Create realizations. Create beats. There is an A to Z path that should be taken with hills and valleys, ups and downs, all ending with a positive “Z”. 

What resonated with me was that my intended choices don’t need to be, and frankly shouldn’t be, heady or complicated. Simplicity is relatable, easy to grasp, possible to understand. What I was feeling, working through my songs with Jimmy and Benton was that when you just say it, you are able to “act on the line, not around it”. So, instead of using all of my intention in weird, useless motion and eye choreography that leave my words plain and boring, focus all of that acting foundation onto the actual words, which will in turn infuse my words with an amazing essence of beautiful emotion. With that, I fell into my scene, into my character, into myself and just was there, present in the moment of the story, of my journey through the song. Truly enchanting. 

Now I’m at the edge of the diving board. Before, I was climbing the steps, then walking the gravely runway towards the crystal blue water. My toes are curled over the edge, ready for a few bounces and a final spring into the refreshing opportunities of new artistic endeavors. Will it be a splash-less entrance? Will I have to get out and climb those stairs again? Maybe. Probably. But at least I have the tools now to get back to the edge of the diving board again.

Am I all of a sudden the perfect auditioner? Will I book the next thing I go out for because all the tricks are in the bag? 

Hell no. 

BUT, I have come a long way through simple steps that may seem small, but are so important. When these are fully taken, only huge progress can come. Without this workshop, I don’t know if I would have been able to take that catwalk to the edge of my diving board and feel confident to jump in. 

Thank you to Jimmy and Benton for getting me up on that board and grounded to know where to go next. I am so grateful for what you both have done for my confidence in this field, in turn aiding me in the continuous understanding of who I am, where I am going, and what I wish to become not only as  performer, but as a person. I will always look back on this time as a hard - sometimes spiraling - but definitely positive time in my life that has only helped me in my further growth through this artistic career I have set out towards. 

Week 1 of Audition Workshop: Tears Creating a Blog Entry.

I had the great fortune of coming across an audition workshop that started right when I got back into the city. I’ve been wanting to take one of these workshops for a long time now, but it never was working out. Finally this one screamed out my name and I am so happy I took the plunge. I could go on and on about how happy I am about getting the kick in the butt of how to set up my resume properly, to get a new headshot, and to come back to those necessary acting basics that auditioning needs at heightened levels. I could go through my notes and talk about all the little tips I’ve been getting. 

But no. I have something else. 

The people who seemingly don’t work are always the best actors. I’ve seen this time and time again. I thought it was natural talent, just oozing from their pores in perfected pitch, time and rhyme. They couldn’t help it; their souls just needed to let go of all this talent, thus every time is a grand old time. 

Then there was me, the one who had to search, pry, scratch apart, and rip through to find that connecting factor to the natural creativity - that I do believe - we all have. I’ve been through that hell, that work, and have found the results where people applaud me and praise the creation that had happened before their eyes.

Even when I do that strenuous work, the “connection” doesn’t happen 100% of the time, and that sucks balls. Why can’t I have the natural, raw talent that they do? Why can’t I tap into the reality that brings my story across to the people behind the table? Why can’t I do it?!?!?!

What has separated me from those talent-oozing people is that they perform for themselves, not for the people behind the desk. I need to create for myself. 

This realization came today from my dear, wonderfully talented and amazing roommate Jayson, whom I’ve done FINIAN’S RAINBOW and THE PRODUCERS with. I came home tonight in, as I’m going to call it, a “raging-deer in headlights” mode. So, to define that, I was stunned, freaking out, and not knowing where to turn, all the while venting my pains and anger. In that spouting madness, Jayson (about a third of the way through) pulled out a piece of paper. I didn’t know what he was doing, but I didn’t care, I was a raging deer! After about 20 minutes I guess, Jayson picks his head up from the paper and says, “You said the word ‘like’ 13 times in 60 seconds.” 

Now, Jayson has been on my back about over-using the word “like” for some time now. I have been really trying to stop, but it has been hard, especially when this raging deer violently prances out of me. So who knows what it was, whether it was tonight’s class or using “like” too many times, but I started balling. Like (Yes, I used that word. Sue me.) BALLING to the point of not being able to speak. 

Jayson of course came over and started apologizing, but it wasn’t his fault. I needed that release. I can’t remember the last time I cried that much. 

So now I was a crying, savagely bounding deer who was just spastic and didn’t know where to turn. I was freaking out that I couldn’t tap into that work that I had done for the song I was preparing for class. I was just that pretty boy singing with a pretty voice and nothing else to offer. I was unable to make a correct choice. I would never understand how to connect to a song ever again properly. Grrreeeaaaat.

Luckily, Jayson was there to talk through tonight’s class, and this is what he finally realized through my conundrum: I have been performing for others, not for myself. “You have to do it for yourself”, he said to me. “Have pride in what you are creating. Are you proud of the work you did in your performance after working with the teachers?”

Yes, I was. I was happy with the new backstory I created with Jimmy (one of my workshop teachers) and felt I really connected to it in my song; I found so much joy with that change. 

The only thing I was getting caught up on was that I didn’t get the response that I was hoping for, the words that said, “There you go Schuyler, see, you aren’t just a pretty boy who can sing. You have so much to offer and will be cast in so many shows because you have the talent to be always working.” 

That is EXACTLY what I NEVER need to be looking for to feel successful. 

When I start performing for others, all I do is fail to connect to myself, because I’m simply focused on them, not myself. My ego doesn’t need a good pat on the back with a, “You’re so great”; it just isn't necessary. Their (the people behind the table) approval of my joy is totally unrelated to my success in this field, on these stages, in these auditions.   

I am here to share my joy for performing. I love to perform, to create, to emote, to tap in. When I share that joy, I will get those jobs. Simple as that.  

I’m so lucky that my career is one that lets me do what I truly love. What I’m now seeing is that I need to remember that I love this, that the joy of performing, whether in an audition or on the Broadway stage, brings me pure happiness. As long as I can perform, I will be happy.  

So, does this mean I’ll stop working and just say, “I love doing this, and because of that I’ll be good.” Hell no. Part of what I love about performing is the background work that goes into these creations. Lord knows I’ll be working my tushie off for next week, our final week of our workshop. We’ve all been given a character to come in and sing for. I’ve been given Lucas from THE ADDAMS FAMILY and I couldn’t be happier. I really connect with him and know that I am the right type for this role. So, on Tuesday we will work on the sides and songs with our teachers, Jimmy Smagula and Benton Whitley, and on Thursday we will come back in with those same scenes and perform them in front of some members from the industry (casting directors, agents, etc.). It’s a wonderful opportunity to be seen by some major people in the industry, AKA the people who help people like us get jobs. 

Obviously there are nerves, but that’s what my preparatory work will quell, along with my newfound re-realization of how much I love to create and perform.


P.S. As I was writing this, of course I got a text from Jimmy that said this: "You did great tonight!!... I felt like you really let go on the last pass and it was awesome." That made me SO happy, BUT it's not what I need to feel successful though, as I have learned. :-)

Dancin' Again!

I took my first dance class since a year year ago tonight. 

It was amazing.

I had forgotten how much I love dance classes: stretching, sweating, strengthening, and picking up choreography. My good friend Sally Swallow, whom I went to Middlebury with (she was our Sally Bowles in our version of CABARET up there) suggested that we go and take class together then have dinner after to catch up. I am so grateful that she suggested getting back into the studio; I always get nervous going back, knowing that I’ll be out of shape, stiff, and rusty on picking up the steps. 

But this was different somehow.

We were taking the Intermediate/Advanced Musical Theatre Dance class at Broadway Dance Center. Tonight we had a sub, Michael Mindlin, and he was superb! Be sure to check out his BDC faculty bio to know when he is teaching. So talented and grounded in his art.


http://www.broadwaydancecenter.com/faculty/bios/mindlin_michael.shtml


Our warm-up was definitely a workout, but also so fluid and relaxed, allowing me to center myself and really let my muscles warm-up properly as they came out of hibernation for their solid stretching session. Then we got to learn a routine for the second hour: a Fosse inspired piece to “Don’t Rain On My Parade”. It was subtle yet so powerful in its direction changes, intricate turns, head pops, and arm extensions. Dance heaven.

I was really nervous when it came to do the full combo in our small group of guys, wondering if I would remember the steps with all the other dancers watching along with the instructor (whose dancing was quite literally effortless... pure beauty.). What I told myself though before those first hip hits began the combination was, “Have fun Schuyler. Just have fun.”

Did I get all of it perfectly. No way. But I got a lot more than I ever thought I would with my dusty technique. And more importantly, I had an absolute blast. My goal in the future is to feel confident enough to step up to the front line and perform there without the safety of the other better dancers in front to jog my memory when I go blank. All in good time... 

So, Sally and I now have a weekly date: Mondays, 4-6, BDC, Int./Adv. Musical Theatre Dance. Screw a gym membership; time to get my BDC dance card and get back into class. I had the time of my life tonight PLUS got in shape! What’s better than that? 

If you’re in the area and want to come, dance, and have a smile imprinted on your face, come on down with Sally and I. We all will have a grand old time yessir! We’ll have a grand old time!

  

End of Thisssssss Chapter

It’s quite amazing to me how fast “The Producers” has flown by. One second we’re in the depths of rehearsal and all of a sudden our four week run is over. Just done. 

“The Producers” was one of those shows I wasn’t ready to move on from. Who knows if I would have ever been ready actually... This comedy is one you continually play with in each performance, each scene, each beat, each moment in time. Even just a few days ago, I was still finding new aspects of Carmen, fresh ways to see the action, and crafty ways to approach each staged relationship. Our production was alive, breathing; the only reason it thrived was because we let go and let be what this theatrical genius of a piece manifests in the utter aspect of being itself. 

When I let myself go and stopped freaking out about whether I would “get it” or not, everything revealed itself. All of a sudden, the instances and specificity that I so wanted to understand, create, and hit accurately in my performance came when I came back to what Billy Porter told me: “Know that you are enough. You have everything you need.” It was then and only then that I got out of my on way and dove directly into the heart of who Carmen was to me as well as to our company’s production. 

I had a blast with Carmen. This role for me was truly a dream and was so sad to see this incarnation of him end today with our bows. Carmen was a (as Mom put it and I agreed with) a complete culmination of all that Middlebury had taught me. Everything from throwing actions at my counterparts -whether spoken or unspoken- to the physicality choices that were birthed throughout, to my singing and dancing, all came from my time at Middlebury. 

Overall though, the skill that Middlebury taught me that I found invaluable in my growth as an actor/creator in this process was that there is going to be a lot of homework, but you don’t necessarily have to complete it all to learn the subject matter the best way. That’s right, I never did all of my reading at college. BUT, I would find what was interesting to me, what intrigued me, what I knew would help me in understanding whatever it was to be learned -whether in theatre or other classes- and delved into that. It was through that sifting that I really focused on aspects that I could grasp, and then through the class, all of the pieces would fall into place in time to create that full comprehensive understanding. 

I didn’t study all of Mel Brooks movies to get his comedic timing down. I didn’t break down each scene into beats and actions. I didn’t create detailed backstories. I didn’t do a lot of things. But what I did do, I did with 110% of my being and devotion. What I found was that with that dedication to those certain portions I could grab a strong hold of, the rest simply came to be by trusting. 

I am proud of this production, and I will always look back on this time with the fondest memories and most rewarding sense of honest and harmonious creation throughout the four weeks of production. It surely wasn’t easy by any means, but it truly sits within the top three best productions I will always be proud to say, “I did that show”.

Of course, I could go on for ages about the ensemble that I had the great honor of working with. Literally though, the amount of stories along with all of the inspiring stage creations and chats I was privy to in this cast could go on for many more pages. These are people that I know I will work with again because they are not only that flippin‘ talented, but they are some of the silliest, nicest, funniest, honest people I know. I learned something from every single member of this company that I will hold with my inner artist for the rest of my life. I cannot wait for all of us to get together again and play both on and off the stage. 

I know we all say this about a lot of casts, that theatre people are the best people, that we love everyone. I’m sure it comes from our dramatic ways; we just LOVE everyone! I will be seeing these people again whether they want to see me or not. :-) They truly mean that much to me. Throughout the run, I kept casting people in roles of musicals I hope to direct in the near future and got super excited. I cannot wait to collaborate again  with these individuals and continue to foster the harmony that theatre so amazingly supports naturally.    

I hate to see this show close, but new adventures are awaiting. I’ll be spending a week here in Guilford to reorganize and revitalize myself before coming back into the city for audition season. It’s also time to get cranking on my cabaret that will be going up this fall. 

Thank you all who got to come out and see the show. It meant so much to have so many wonderful familiar and supporting friends and family in the audience. I felt so blessed to have you there, whether in a seat or in spirit from far away. 

So long July and hello August. Here I am, (almost) ready to step into this next (and so far) blank chapter with a sun tan, an Equity Card, some pay checks, and absolutely amazing memories of my time with “The Producers” at The Ivoryton Playhouse. 

Here’s to what was and what will become of my life now...  

Rehearsal. Taking Time to Play to Learn.

And we’re back, coming to you from good ole twin bed in good ole Guilford, CT.

Yup, I’m back at my parents’ house through the end of July for Ivoryton Playhouse’s production of “The Producers”. We’ve just started our second week of rehearsals and everything is going so smoothly despite that our fantastic and fearless lead, R. Bruce Connelly who will be playing Max Bialystok, had his appendix out this past week. Luckily he is on the mend and will be coming back to rehearsals in the next couple of days. A last minute understudy has stepped in seamlessly, making the rest of the production’s process smooth and on track. Luckily, Bruce has performed Max before in another production, so we’re not worried at all for his lost time. 

As said, rehearsals have been going so well. Carmen is such a wonderful character to dive into. His comedy is however quite daunting to step into. For those who know Mel Brooks’ work, and Carmen more specifically, there are iconic parts to hit, super exact moments that are expected to be recreated while also being originally based. All if this is derived from how the scenes themselves are so smartly crafted; if you miss the exactly placed beats, the humor Brooks goes for, the humor that is so well received, will simply flop, creating uncomfortable confusion.

What I’m going through now is trying to find these points, hitting them in the Mel Brooks style while also being my own artist and letting my own gut reign free from time to time. There have been more than a few times when I have gotten very frustrated with myself, feeling like I’m not getting it, that I don’t have what it takes to be an Equity actor, that I’m not talented enough to pull off all that this character has to offer, that I’m going to miss so much of his comedy and will fail. 


Right in the midst of one of these small panics this morning, my director came over during a break sensing that I was frustrated/worried. She said that I was doing a great job with Carmen and all that needs to be accomplished in such a short period of rehearsal time. What she stressed with me was that I just need to take my time, not to rush. It is an aspect of letting the bantering script dig into my core and to let myself respond accordingly. That really hit home and helped me for the rest of the rehearsal today. 

I’ve never had a role like this and I am having the time of my life with all it has to offer. It’s an honor to be able to partake in this specific type of comedy, to learn another way in which “funny” works onstage. Not to mention, the flitzing and flouncing I do around the stage, interjected with bevels at every moment possible is just FABULOUS!  

It is interesting though. This is my first time at the Ivoryton Playhouse without being in the ensemble and it’s definitely different. I miss all of those group numbers and the immediate bond that ensues between the ensemble-mates in creating formations while singing in four to six part harmony. Luckily, I do make an appearance in some of the early numbers as Audience Member/Cop and get to dance quite a bit. Then, to my surprise, I get to do some pirouettes and kicks as Carmen! Yes!

The cast is stellar. Like, really. Every single principal and ensemble member is so talented; each brings such power and individual talent to the stage. Not to mention everyone is so fun! I know show-people always say that, but it always seems to be true. I find that I’m laughing the majority of rehearsal, and not just because the show is hilarious, but the cast members themselves are just as funny, if not more. 

It’s going to be an amazing run. Be sure to get your tickets now:

http://click4tix.com/showdates.php?s_id=IVORYPRODUCERS&rtt=2

We run July 6th through the 31st with Mondays and Tuesdays dark. If you’re thinking of coming from the city, it’s a super easy trip on Metro North from Grand Central to New Haven and I can come in my nifty Ford Ranger pickup and pick you up. :-) 

In other news, I’m getting ready for the staged reading/singing of Jay Alan Zimmerman’s musical “Smokin’!” tomorrow at The Duplex. I can’t wait! It has been a super fast process, but a great one at that. The music is beautiful, the book is filled with laughs, and the cast is excellent. I have loved working with our director, Anthony J Cantalupo on this process. Yesterday we had a few moments together to work on my solo and some scene work. Within moments, Anthony had pulled so much of Nick out of me and onto the table, letting me see how to get out of my own way and just let this direct and complex character play. 

Anthony put me through two exercises. The first was for my solo. He has me sing it three times: 1) Just sing. 2) Walk around the room (have constant motion with varying tempi), and let the motion connect with the breath and in turn the voice. 3) Sing again with that same energy and excitement found through the movement. During this last time through, Anthony put himself right in front and acted the part of Keith who I am singing to. His presence there, the very addition of having a person right there to sing to, to convince, to love as Nick does, was so powerful and wonderful to have. I had to really make him listen to me and hear me with a music-stand in between us. This connection over the barrier brought so much more out of that solo than ever before, and I was so grateful. 

The second was for my scene work. Once again, there were steps: 1) Read the scene with Anthony. 2) Read just my lines without allowing moments for the other characters‘ lines. 3) Read just my lines and allow the separations between my phrases, but make up my own lines of the other characters‘ in my head, whatever they may be. 4) Read the scene again with Anthony. This really loosened me up from what I had rehearsed so much before. I had become very introspective when it came to this character, letting everything hit me and then respond in the way that I thought it had hit me. What I was seeing and feeling was that Nick is a character who has his own agenda, who sees his own thought process completely, knowing where he wants to get to separate from everyone else who may surround him. I all of a sudden just let it happen. I knew it was working when I wasn’t thinking about the lines and they just came out in whatever way they did. I stopped controlling them and let the lines and my own guttural impulses lead everything.   

I can’t wait for tomorrow. If you’re in the city, come on down! We’ll be at The Duplex, 61 Christopher Street. The show starts at 7:00 PM with tickets $15 at the door and a two drink minimum. Be sure to bring your ID; you won’t be let in without it. You can buy a ticket before hand and only pay $10 by following this link:

http://www.theduplex.com/webcalendar/view_entry.php?id=5966&date=20110629  

Some other amazing news, I have found a director for my next chapter of my cabaret: Martin Peacock. I was introduced to him by Sam Carner and Derek Gregor, a fantastic lyricist/composer team that I was introduced to after a show at The Duplex. I had followed them on YouTube before and absolutely loved their music. It’s smart music, it makes you think when you listen to as well as sing it. Be sure to check out their YouTube channel:

http://www.youtube.com/user/carnerandgregor 

A couple of weeks ago, I went over to their studio and had a vocal coaching with them on one of their songs, “All At Once” and I had a blast! I love the song and really enjoyed getting to hear what they had to say about the song and their own process in creating not only the rhythms, pitches, and lyrics, but the character himself. It’s an insight you don’t often get to have into a song. I can’t wait to get back together with them and sing some more of their songs. If you’re interested in working with them, check them out on their website:

http://www.carnerandgregor.com/coaching/

During my time with them, we got to talking a bit about my cabaret and how I was looking for a director. They mentioned Martin, whom had directed a production for them in the past, and thought, from what I was saying I was looking for, that Martin would be a good match. So Martin and I got together at the Atrium of Lincoln Center and chatted about my piece a bit. Within moments my gut told me, “Yes, this is the guy.” He was seeing my piece in a completely different light, a new order/format in which to share my story through text and show-tunes, and it was so exciting! And now we’re working together! This union of course happened the day I was leaving to come to Connecticut for an intense rehearsal period, so we haven’t gotten to work that much on it yet. However, I plan to come in on my days off to meet with Martin and continue re-writing the script and bringing my cabaret to a brand new level of creation. 

There are so many projects going on now and it is absolutely exhilarating! This is what I have been waiting for and I am so happy. 

It’s time to play. 

Big News. Big Dogs.

I was offered an Equity contract. I was offered a contract to become a part of the Actors’ Equity Association Union, to take the next step of my career, to be an actual professional within my craft. I’m going to get my card! I’m going to be Union!!!

Recently I was cast in Ivoryton Playhouse’s production of “The Producers” to play the fantastic role of Carmen Ghia. A few weeks ago I got a call from one of the producers that they wanted to offer me my Equity contract along with the role. This would mean that I wouldn’t have to work all 50 weeks in Equity productions to be considered for the Union. Instead, the producers at Ivoryton (an Equity house) decided to surpass those weeks and make me Equity now.

Now, this is a double edged sword, this whole honor of getting your card, aka becoming Equity (when you become Equity, you literally get a card that shows you are in the Union when you go to auditions; so in the theatre world, becoming a part of Actors’ Equity Association is also called “getting your card”). 

By becoming Equity, I have many more opportunities for auditions and actually am guaranteed to be seen - the majority of the time (it’s a lot of little rules and such that I won’t bore you with...). I’ll in turn be seen more at auditions, which can only bring on more experience in the auditioning room. This is also a time to continue building those relationships with casting directors and production teams, performing and showing that I am a smart individual who is ready to work hard and be a harmonious addition to the production. Also, when I’m cast in an Equity production, I will get benefits. There are also maximum hours for rehearsal time as an Equity actor, unlike when you’re Non-Equity and can be worked for hours and hours on end (it’s not always like this, but can be simply because there are no rules for Non-Union actors). Not to mention I get paid more per show! 

But then there’s the other side... By being Equity, I can’t audition or be hired in any Non-Union productions, tours or readings. So for example, the tour of “South Pacific” I talked about in my previous post I wouldn’t be able to do. This eliminates a lot of opportunities to play really great roles that can only add flavor and experience to my resume. Right now, my resume has a lot of Ivoryton Playhouse and Middlebury College, which can be a red flag for some casting directors. You often hear from some actors that they wished they would have waited to get their card as they needed more experience in this crazy world for their resume, for themselves really. 

Also, a lot of regional shows only have so many Equity contracts to give out for budget reasons. It costs more to hire an Equity actor, and there are tons of non-Equity actors who are more than willing to take a role for less money; thus a lot of theaters go with the Non-Equity route instead, especially for the chorus roles. Then there’s the factor that I’m now running with the big dogs now. I mean, I’m auditioning with all of the actors on Broadway! People like Gavin Creel, Aaron Tveit, and Cheyenne Jackson! We’re all going for those similar roles, and that’s pretty terrifying. 

I took a good week to think about all of these pros and cons, to decide whether this was the right direction for me to take, if I was ready for this jump. I didn’t want to be another one of those young actors who snatched at the first instance to get my card and then look back and wish I had just waited a bit longer. 

Am I ready? Am I talented enough to be dubbed with such a great honor? 

After going through everything, I do think I’m ready. The reason I know I’m ready is that I know there are aspects of my art that I know I still need work on. Now, that may sound a bit opposite: I’m ready because I know I still have things to improve on to be able to perform at this professional level. But what I realized was that this contract, this opportunity all of a sudden gave me the kick in the butt to go out and take that auditioning workshop, get some coaching to be better with my vocal choices, revamp my audition songbook, look into getting an agent, finally get new headshots, etc. It’s time to get serious about this all. This step shows me that I can do this, I can be a part of this world. 

So that’s it. I’m going to sign my contract and become an Equity actor. Yes, there are going to be some uphill challenges, but I’m ready to tackle them head on, to show that I am qualified and ready to take this career, this life, to the next level.

In other news, I’m catering a TON right now, which is wonderful, but quite exhausting. I’m at a point where I just need to keep my balance with everything I’m doing. The cabaret is coming along, and I am at a point of making the next steps in the process which is surprisingly terrifying and exhilarating all at once. Things have been changing for the better like crazy which is so great! 

It’s now just about making sure that I have enough balance in my life to dedicate to the creation and production of my cabaret as well as earning some sort of income. I’m learning how to be better with this through the trials and errors of this city that inherently come with living here. I feel that in the “almost four months” that I’ve lived here, a whole year’s worth of events and experiences have happened to me. Once again, terrifying and exhilarating. That’s just how this city works, and I couldn’t imagine my life right now any other way.  

Now it’s time for chinese food and True Blood with friends at my apartment. 

I love NYC.