POSTS FROM OUR PROCESS

On this particular Fathers’ Day, I am once again in rehearsal for a show. I am also once again sad to remember that my father was never able to see me perform before he passed away in 2005 - on the morning of the opening day of the show I was doing at the time. That awful morning reinforced the saying, “the show must go on” in the strongest terms in my mind since that day. I attribute my love of singing to my mother and my love of acting (a fool) to my father. He instilled in me the belief that it is okay to make fun of yourself and to laugh as often and as hearty as possible

Read More

These are the moments in which character is forged—not in times of triumph, but in the absence of external validation, when the structures that once supported us vanish and we are left to navigate the wreckage. In embracing the ambiguity of the “after,” Omega & Alpha has offered us more than theatre; it has given us tools for reflection and, perhaps, transformation.

Read More

Spending the past three months with a toe dipped into the world of Peg has been a rare privilege. I approach Peg as part actor, part dramaturg - hours spent researching her patterns of difference, listening to neurodiverse voices, and taking props home to practice the intimate, silent choreography of her world.

Read More

For some, the physically expressive explorations and the abstracted movements might not cut it.  For some, that kind of work can create a barrier and requires more work to release into and cross the threshold of trust.  Super fair.  For such actors, in addition to their other script and character preparation, one might call upon a tool called “Corridors.”

Read More

Staging a fight is like staging any kind of storytelling in that there needs to be a clear beginning, middle, and end to the artistic frame (a beat or short arc of action).  When stage combat really works, it feels less like “a fight” and something more like a spontaneous, often clumsy, fit that feels well tethered to the scene.  To me, finding that organic storytelling is like composing music

Read More

Clothing can tell us so much about a person before they’ve ever opened their mouth.  The clothing choices we make communicate information about who we are, whether we are aware of it or not.  For a theatrical performance, it’s up to the costume designer to analyze and decode the characters, in order to discover what they might wear and why.

Read More

In an earlier post, I offered some considerations for actors during this season we're all in the middle of - when many theaters are having general auditions and casting for next year. But turnabout is fair play, so I wanted to offer some thoughts to those sitting on the other side of the table…

Read More

With each rewrite the character got more specific.  Less some kind of metaphor (although she and all the other characters are, of course, still metaphors) and more a full human being with odd quirks and her own mysteries that she may or may not share.
And the play suddenly became more multi-faceted. 
And my understanding of the world got bigger.
Which, I suspect, is why I got into this art form.

Read More

Sir/ma’am/friend, this industry has conditioned me to hide my body. Perform various Jedi Mind tricks to make you stop staring at my apron belly, or back rolls and look at my face and hear my words. Walk a certain way, look a certain way, dress a certain way - and now you just want me to move- don’t think about it- just move? With OTHER PEOPLE AROUND? Are you f***ing with me? Is this a joke?

Read More