Allison Strong, Union City, N.J.
My boots were made for walkin.’ Power walkin’, that is. No matterwhat I’m wearing—boots or sneakers—I’m always headed somewhere andburning rubber while I’m at it. If you thought that after I retiredmy character shoes last month my power walking—and sometimes powerrunning—days were over, you’d be wrong. All that’s changed is thescenery.
Now, instead of my former mission of making it to the job on time,I’m walking feverishly to University Hall for two-and-a-half-hourlectures like it’s my job. Rather than dodging starry-eyed touristsarmed with oversized cameras in Times Square, I’m dodging hazy-eyedcollege kids armed with backpacks so heavy they could probablysquish my toes on my way to the theater building. oh, and there aretrees and dining halls with meal plans, instead of skyscrapers andoverpriced delis. It’s nice and normal but not exactly a change ofpace. After all, being out of work isn’t an excuse to be comatosewith your eyes open. when your job is over, you just have to shiftgears—or in my case, change shoes—and move toward a new set ofadventures.
No. 1: to survive my course load, which has become a surefirefun-sucker. I write about two papers a week, and I’m alwaysskimming the pages of some textbook. For my philosophy class, I’vehad to read so many Bible verses you’d swear I was an apostle. No.2: to continue my training. I now take piano, ballet, and jazztwice a week, and surprisingly I’ve started going to the gym.Luckily, I live right next to it, because I probably wouldn’t be sogung-ho otherwise. I’ve also enrolled myself in acting techniqueclasses and have started studying dialect, my dream since I saw”Mary Poppins” in first grade.
No. 3: to keep new York in my life. going in for auditions tricksmy mind into believing that I never left, that I’m just taking alittle sabbatical. No. 4: to keep up with the latest Oscar farelike “Crazy Heart” while retaining guilty pleasures like the DisneyChannel. No. 5: to stay connected with friends, new and old.Returning after a semester on Broadway to a single room in anontheater dorm might suit an Emily Dickinson but not a socialbutterfly like me. so I have my fill of dinner dates on campus andin the city, and it keeps me happy and surrounded instead of sadand solitary. why not just kick back and put my feet up? Most willprobably call it overachieving, but it’s just a bad case ofrestless leg syndrome—so for now I’ll just keep power walking,thank you, and change into my old house slippers somewhere down theroad.
Derek Lui, Los Angeles
Reconnect and revisit. this pretty much sums up my February. Lastyear, I spent eight months working on a monologue show named “Sex,Relationships, and sometimes Love.” It was definitely a challengefor me. I had not been involved in theater productions lastingalmost a year in the past. To be honest with you, I had my ups anddowns during my eight-month performance. I tried my best to keepeach performance fresh and organic, but knowing my character toowell became a challenge for me. I tried so many methods, likechanging the routine of my preparation work, making new choices,and exploring other possibilities. I have to say this show wasreally a valuable acting lesson for me.
After three months of hiatus, director Joelle Arqueros invited meto return to the show for its February run. The show has beenrunning for over six years in new York and Los Angeles, and I amglad to revisit the show because I have found something new to helpwith my performance again.
My character is a Japanese man who has just ended a relationshipwith a much older American woman and is feeling nostalgic about hisfirst, more innocent love in Japan. when I was home for Christmas,I accidentally came across an object my real-life first love leftin my room. Part curious, part in the name of research, I invitedmy first love, whom I haven’t seen for 11 years, to dinner. That’sprobably not a usual way to prepare for your role, but this casualcatch-up dinner helped me understand the monologue in a whole newlight. when I performed this same piece again, I felt more alive,vibrant, and different. this rediscovery process is amazing.
Besides this little chapter of reunion, my reconnection with afriend also brought me a pleasant surprise. One day, I was homere-watching a DVD of a film I was in, and it reminded me that Ihadn’t written to one of my co-actors, whose work I trulyappreciate, for quite a while. call me old-fashioned; I am the kindof guy who still occasionally writes to friends just to catch up. Igot a reply from her the following day, telling me that my emailreminded her that a friend of hers was auditioning Chinese speakersfor a McDonald’s radio commercial. She then referred me to theaudition, and I ended up booking the voiceover job. Two weekslater, she invited me to another audition for a Web series she isproducing. These all started from a friendly email.
Human connection works in some miraculous way. sometimes a trip tothe past could bring a new light to your future. I am revisiting mydemo reel as we speak. with another year of experience earned, Idecided to re-edit a new demo reel to improve the inadequacies fromthe past, hoping to shape a better future.
Nick Martorelli, Philadelphia
Whenever I have an audition, friends who are not in the actingbusiness ask me, “How was it?” I usually have no idea what to tellthem. sure, I could tell them all acting things about preparationand whatnot, but they wouldn’t understand that. To them, art is assimple as sports. Score the touchdown, win the game. go to theaudition, come home with the part. People not in the business willnever understand why great auditions still don’t get you cast. and,truthfully, some actors don’t understand either. It canoccasionally be a hit-or-miss process with no logic to it. but inearly February I was lucky to have an audition that gave mesomething very solid to point to and say, “Do it this way from nowon.”
The audition was for “516″ with Philadelphia Theatre Workshop, thefinal show of its 2010 season. when I went in for the first generalaudition, I did so with a very clear intention: to have fun andplay around. I had read the provided audition scene when it wassent to me, looked it over, and then let it sit on my desk for awhile. I intentionally avoided making any big choices ahead oftime, instead relying on my instincts and impulses when I was inthe room. Hand in hand with this idea, however, came the commitmentto fully honor those impulses and to really go nuts with any ideathat hit, even if it wasn’t 100 percent appropriate. and so, armedwith that game plan, I faced my audition, read the role, and thenleft with my head held high.
Then, halfway through the fourth quarter of the Super Bowl, I gotthe call that I had earned a callback for the role, which was tooccur on the following night. this time, they sent the completescript in addition to the sides we were to prepare. I sat down inthe afternoon and literally devoured the script. by the time I wasdone, I had dedicated myself to getting this part, so I went intothe callback fully prepared. when I got there, I met Katie, theactor reading opposite me. when we auditioned for the director, heworked with us, letting us explore different options and workthrough the scenes multiple times. I began working as if I hadalready won the role and this was our first rehearsal. I would tryideas, see if they worked, and then filter the good stuff along andsee what else I could throw into the mix. Katie and I worked verywell with each other, and I was proud of the work that I did.
I will now ruin the suspense to tell you that I did not get thepart. I was disappointed when I found that out, but I remembered myearly goal going into this process. I knew that I had given a solidaudition performance. I did everything that I possibly could have,and the final decision came down to some other “intangible” that isout of my control. but that’s just something that you have toaccept in this business: realizing that we will never havesomething as clear as scoring a touchdown to signal success. Butthis time, I scored myself at 100 percent, and I can work towardthis in every subsequent audition and every potential job. Even ifmy friends still won’t understand.
Octavia Spencer, Los Angeles
As I record the travails of this past month, I’ve decided to focuson positive people rather than ruminate on the negativeexperiences. To traverse the depths of darkness one only needs tosurf the Internet, which since its advent has seen theproliferation of blogs designed to shock and awe with scandal andcharacter assassination. That’s not my style. as I write this I’mreminded of Shakespeare: “The evil that men do lives after them;The good is oft interred with their bones.” so, before my bones areinterred, I’m taking the time to praise the good.
I’ve often been asked who’s my favorite actor I’ve ever workedwith. Honestly, it’s hard to pin me down to just one of anything.On stage, nothing compares to working with my “Trailer Trash” castmates: Beth Grant, Dale Dickey, David Steen, Joe Pat Ward, andDebby Holliday. On screen: Allison Janney, Will Smith, DrewBarrymore, Tichina Arnold, Jordan Black, Mary Steenburgen, TedDanson and the entire cast of “Becker,” Mark Paul Gosselaar and thecast of “Raising the Bar.”
Why? If you’ve ever had the good fortune of meeting any one ofthem, you’d know immediately. It’s not that they are allexquisitely talented; that goes without saying. It’s not that theyeach inspire me to strive for excellence in my craft, because theydo. It’s not their tireless work ethic, because it shows in theirprofessional achievements. It’s the simplicity of who they are:genuine and kind people.
All embody that Everyman spirit and are the type of people I’d liketo sit and have a beer with (if I drank) after work. each treatedme with the utmost respect when I visited their sets and wereemotionally and personally accessible to me both on and off screen.For those of you lucky enough to headline a project, know that yourset is your home away from home. your guest cast should be treatedas such.
In mid-February, Jada Pinkett-Smith and the cast of “Hawthorne”welcomed me with open arms to their home, their set. I’d like toadd them my list of favorites. I’ll never forget stepping off theelevator of a defunct hospital (where the show shoots) and beinggreeted by the hair-and-makeup team, as my first day of work wouldbe the very next day. Introductions were made, and the departmentheads decided on our plan of action. Down the hall to my right wasvideo village and executive producer–lead actor Jada Pinkett-Smith.She walked over, gave me a hug, and again welcomed me to the show.from that moment forward, things went from splendid to even moresplendid. The cast and crew were overwhelmingly supportive andgraceful. I applaud Jada first and foremost because her name is atthe top of the call sheet, thus she sets the example. MichaelVartan, Suleka Mathew, James Morrison, Collins Curtis Pennie, AdamRayner, and Christina Moore, thanks for being you: wonderful actorsbut good and kind human beings.
Richard Rella Jr., new York City
I just came back from another stint on the national tour of “Tonyn’ Tina’s Wedding.” we performed at the historic Proctors Theatrein Schenectady, N.Y. Originally built as a vaudeville house in1925, Proctors has seen its stage graced by such legendaryperformers as comedians Red Skelton, George Burns, and GracieAllen; magicians Harry Blackstone Sr. and Jr.; and bandleaders DukeEllington, Louis Armstrong, and Glenn Miller. in recent years, ithas hosted entertainers Tony Bennett, Carol Channing, and RobertGoulet. this 2,100-seat theater is also a major stop for mostnational touring companies. in fact, my wife performed here yearsago on the national tour of “How to Succeed in Business WithoutReally trying.” I love theater history, so having the opportunityto sing 22 songs on these historic and meaningful boards is aunique experience for me.
The best aspect of touring, though, is the ability that I have tocreate my daily routine. Like clockwork, I am up by 7 a.m. I have arelaxing breakfast by myself, answer emails, and check in at home.I’m working out by 10 a.m. and reviewing any notes from theprevious day until lunch at noon. I’ll get to the theater by 2 p.m.and immediately get to work stretching and vocalizing. when thesound engineer arrives at 4 p.m., we will work together for thenext few hours, tightening cues. I’ll get to makeup and wardrobe by6 p.m. and curtain by 7:30 p.m. I never allow anything to get inthe way of this routine, and I know that I definitely reap therewards for sticking to this schedule.
When I get back to Staten Island, however, I am promptly greetedwith a dirty diaper. I have a 22-month-old daughter who, thanks toSkype, I have at least been able to see for the past few weeks.before we even leave the train station, my wife gives me a laundrylist of tasks and myriad problems to solve. getting back to my homelife is the most difficult transition for me. when I’m on the road,I can truly focus on acting, singing, working out—me. when I’mhome, my focus is pulled in all different directions. Don’t get mewrong, I love my home life. this is just part of the challenge aswell as the allure of this career. I had a “real job,” and I gotbored, complacent. I felt myself and my gifts dying a little bitevery day, until that glorious morning when I decided, much to mymother’s chagrin, to decline my contract at Monmouth University. Asfrightening as it was to lose that job stability, I was only 25years old, and I needed to pursue my career as a performer.
The interesting, exciting, and ever-changing dichotomy of mytouring life versus my home life will energize me for weeks andmonths to come. I’ll try, often in vain, to stick to a schedulewhile home. I’ll squeeze in workouts while my daughter naps, vocallessons between family visits, auditions between background work,acting classes between auditions, and I’ll rejoin the Off-Broadwaycast of “Tony n’ Tina’s Wedding.” as much as I like being on theroad, it’s good to be home.
Human Contact
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