Part of the process that I don’t think gets shared enough is the spyback...feedback, or communication in such a way that allows one to reflect, learn, grow, and evolve. Sometimes I think that this step gets stunted in art-making - that it’s somehow too sensitive or too personal to have genuine conversations about…which then starts to feel antithetical to the function of art…right?
Read MoreIdeas would germinate in my head or scribbled in journals, often erupting into semi-spontaneous performances on stage. This solitary process could feel exhilarating but also isolating, and I now understand how it can drive a person mad in its repetitiveness.
Read MoreI feel if I do my job correctly, you might not even notice the “props”, they are all just part of the setting, unobtrusively enhancing the story. Sometimes, the props are practical physical items...
Read MoreI found myself curious to explore a different challenge within the Seat of the Pants collaborative process of storytelling. Telling a story as an actor from a single character's POV has always been where I felt I worked best, but over the years of working with Seat of the Pants I find myself increasingly drawn to the work happening within the process of rehearsal.
Read MoreHow did our 2024-2025 OMEGA & ALPHA season come to be? Well, like everything else at Seat of the Pants, it’s part of a process.
Read MoreWe live on stage in two truths at once- our artist selves and our character selves. My main character, Duckling, had the super-objective (what she wants throughout the full show) of emancipation. As we got further into rehearsals, I realized that as an actor, I was actually seeking the same thing.
Read MoreIt’s hard to believe that after 10 months, Our Country’s Good has concluded.
I cannot speak for the rest of the cast and crew, but in the days since our final performance I am left with a deep sense of gratitude, fulfillment, and if I’m being honest a little touch of yearning and (no pun intended) “melancholy.” It’s always bittersweet closing a show that is meaningful, but this feels especially so in this instance.
This process has allowed me the opportunity to dive deeper into giving the audience a subconscious viewing of the world I want them to see. Please indulge me as I dive into a few aspects of this now.
Read MoreOpening is quickly upon us. The form of our play is crystallizing as we refine acting moments, blocking, transitions, dialect work, etc. This weekend we moved into tech where we added the set, lighting, sound, and eventually costumes. The speed at which we are moving, after months of play and experimentation, feels daunting at times. For me, this drums up some big hairy feelings of “imposter syndrome” as we get closer to sharing our work with an audience. It’s been a while since I’ve performed live for an audience as much of my pandemic life has been spent teaching. The pressure to prove that I can practice what I teach feels ever present. Can I stay present, grounded, and connected to my body and voice while inhabiting the technical demands of the play?
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