The Glamorous Life of Auditions - Day 5
To Greek/Shakespeare or not to Greek/Shakespeare...that is the question. In my pursuit of never having a chance to be a part of a production in this genre, it's always been an inside joke of mine in every room to see how casting will react. I do have some theatre credits but nothing that ties me to this particular style and since it's already tough enough as a black/mixed female, the chances are slim to none to get a shot in this part of the arts and I believe more so in L.A. If it's not something you do, most don't think you can handle the text...let me tell you something, if you love this art for what it can give, you will learn text easy so try not to push this aside just because of people's lack of insight. I find that most people that have so called trained in the theatre, do theatre, talk theatre can't hold my attention when I watch them...why, with everyone screaming it's what they do, it's they're passion etc., etc., etc. Because it's all the outside, what they feel on the inside isn't conveyed and no one, not even the director can tell them otherwise. It's pretty sad because I love theatre but being someone trained as such but never really doing it until the past 2 years, I came across a lot of snobbery. It's ridiculous...I've seen so called "Broadway Award Winning Actors/Actresses" that seemingly ruined the experience yet the girl/guy with no name, barely any credits fascinated me to no ends. Why? I felt them...I didn't see line readings because this is what you do all day every day....I saw that character, vulnerable and waiting for anything to happen because that person with no name was present and real. I don't care if you made a history book of your character, if you can't make me feel who this person is, I'm out. So don't dispel a chance to keep pushing that door if it's something you want to do just because of the lack of credits. I didn't have credits walking in to do "Flyin' West" and the director looked right past it...it takes the right person on the other side to see you...truly see you, not your walk and talk nor dress but the essence of the character you've put work into. I will forever be grateful to Ms. Saundra McClain for being that director more interested in the work, not if you look as she imagined or wanted for the character but open to being changed in the room by interesting/true work. She changed my mind about someone who is surrounded and loved by theatre and yet doesn't allow the prejudices of that life to hinder her seeing talent when it walks into the room regardless of where you're at in your career. She is one of few but you must keep seeking people like her out and the only way to do that is to keep submitting until someone calls you in and then keep doing all of that until you walk into the right room/right time then unleash your creative beast!
I auditioned for "The Archer of Malis" but instead of an excerpt from the play, they asked us to come up with a monologue from that era. I had a couple of ideas but asked my girl, Cheri since she is a Shakespeare God! Her life has been nothing but the theatre and stuff any black woman would be eternally grateful to be a part of...she loves good work by anyone and we bonded over "Flyin' West." She told me to go with "Cassandra" from "The Trojan Women" and I trusted every word she said to me about the role. I worked for 3 days getting a 2 minute monologue together by picking the last piece of Cassandra's speech where she rips off her clothes. OH MY.... I wanted to read an unfamiliar role and give myself 3 days to conquer my understanding of the piece as well as come up with execution. I wanted to feel thrown in as I would if I were to book the role since I've never read "The Archer of Malis." I buckled in and memorized but while doing so, planned my attack on the script. 2 minutes to show what I could bring to a world I've never been in ( but have desperately wanted to be ) and I went for it from the depths of my art. I've never intentionally shown my body without my undergarments before but this piece literally had it's ripping in notes and because this role was so beautifully written, it only made sense as a bereft, going mad goddess. I chose a difficult place to come in on but I wanted the disheveled, mad to pieces and lost with understanding in my piece, it was all or nothing and I chose all. I went in and went mad...tragically so and I pulled at my dress until my soul barred. This is the great thing about going to this place with conviction first, you've pushed the role to the heavens, now they want to see you back off of it and if that isn't the easiest part...love it every time. "Can you stand still...be...simple..." - "Why, yes...yes I can..." and I did, simple...truthful...powerful as Allen Levin of Lifebook always puts it, he pushed me in both and now I relish it after going big. He asked how I felt...I told him great and how did he feel. He asked if I liked it and out of my love of the arts I told him "I like to work." I meant to work my art but that came out and the casting director spit up a little and choked on some laughter. I wasn't going to take it back nor back pedal because it was truthful as well. They thanked me, wished me luck with the nomination since I had to reschedule my time for a bit earlier to make the NAACP Theatre Awards Ceremony and I changed in the bathroom, peeking out for ladies that may need to use it while waiting. I saw another actor Jahmaul from "When Stars Align" so I knew this production was open to all types and that made my soul smile to the heavens for being able to audition for something so truly wanting to do something different. Dressed, remake-up and pulled it together for my trip not too far away. I thanked the casting again as I left and felt the world smiling back. I was called in for the callbacks a few days later, right when I thought I wasn't going to get one and although I was going to be out of town with family, it was decided I'd make the very first callback ever given in a Greek/Sophacle's play as the goddess Odysseus although I initially read for the merchant/captain. I spent my car trip memorizing my scene as well as any time I could steal away alone when no company was around. Even had fam bam reading lines with me after the festivities with everyone around laughing and cheering me on - thanks again Robert and because of all this...I BOOKED IT!!!! I have booked my first Greek play now, within the 2 years of me starting this theatre journey and will get to workshop it at the Getty Villa as well as doing it at the Lounge Theatre in Los Angeles. Wowsers...another dream getting in, all because I decided I was going to show that I could do theatre too - credits or no credits, I just wanted to be a part of the truly outstanding stuff and I wasn't going to take no as an answer. Don't give in to that "no" no matter how beat down you may feel...this business isn't always surrounded by talent but by constant, focused persistency...then you shine with your magical stuff!!!
Made it to the NAACP Awards at the Nate Holden Theatre and was taken away by the step and repeat, cameras and people...much bigger deal than I had thought. I slipped away to the bathroom to gather my breathe since I was the first it seemed and when I kicked myself out of the restroom I went to find my cast mates. We all gathered to chat, walk the step & repeat and as they hung out, I slipped into the feasting area to eat something to calm my nerves and drink some champagne to celebrate the fact I was there. The rest of the cast joined me eventually as I ate alone for a moment soaking up the thoughts of how I made it to this point. Never if I had listened to the negativity of people around theatre or about theatre, I understood I could do it if I just tried and kept trying. I'm forever grateful for having talks to Cheri about her only entertainment involvement being on stage and I knew I wanted a piece of that goodness. "Flyin' West..." my first major play on a major stage that got me my equity card and now nominated for "Best Ensemble." Crazy right?!?! I couldn't wait to put
nominated for "Best Ensemble" on my resume next to that credit, just being there made me realize how far I had come and how most work ever so diligently to get right to where I am. I've officially done 4 more productions after that within the past 2 years as well, then some film/web things to keep me busy so I will keep forward on this. Sitting in the auditorium, watching the process and finally seeing our category come up and knowing there was no way to beat out the bigger productions in our category but hearing "Flyin' West" as the winner! HOLY MOLY...did I just hear correctly, couldn't possibly be...we move slowly to the stage and the flush of what just happened washes over us as I stand in a daze watching Cheri give our speech. We walk off stage confused as to whether that just really happened...it did...it really did...we won "Best Ensemble" - wahoooooo!
These past few months have just been celebrating the choices of my body of art and as it comes around, I'm enjoying all the work I put in...the roles I submitted for so I could get a mixed bag of characters under my skill set, small, yes..but mine. From the sniper in "The Package" making it's premiere, to winning the NAACP's award for being a pioneer woman, as well as being able to hang with Sally Field, Michael Showalter and another beautifully, tall, naturally, big hair actress Kate Comer whilst being a rude runner! Crazy, dazy month but something to make me realize that the work I put in the past 2 years are starting to come around and that is what we wait for as artists. Sometimes things don't and that's the side that hurts because I did it for years ( 2 years is the focus recently but I've been SAG since 1997 - getting real by getting an agent around 2000 & then quitting for over 8 years ), but when they do come around, it's a week to week stomping of letting you know why you do what you do. Hang on to that feeling, understand why you're here and what story you want to be a part of and keep after that, even when being told "No," "You're not right," "Your choices didn't work," etc., etc., etc. It takes a few people to really see the diamond in the rough that you are but you got to keep shining brightly so others in your tribe can notice your unique glow. Step and repeats, red carpets and under the bold lights is where you all belong, claim that in your work and let them keep seeing you determined with your insight of the art you want to be a part of. Don't stop dreaming...don't ever stop believing and my god, please have fun along the way!!!!
To Greek/Shakespeare or not to Greek/Shakespeare...that is the question. In my pursuit of never having a chance to be a part of a production in this genre, it's always been an inside joke of mine in every room to see how casting will react. I do have some theatre credits but nothing that ties me to this particular style and since it's already tough enough as a black/mixed female, the chances are slim to none to get a shot in this part of the arts and I believe more so in L.A. If it's not something you do, most don't think you can handle the text...let me tell you something, if you love this art for what it can give, you will learn text easy so try not to push this aside just because of people's lack of insight. I find that most people that have so called trained in the theatre, do theatre, talk theatre can't hold my attention when I watch them...why, with everyone screaming it's what they do, it's they're passion etc., etc., etc. Because it's all the outside, what they feel on the inside isn't conveyed and no one, not even the director can tell them otherwise. It's pretty sad because I love theatre but being someone trained as such but never really doing it until the past 2 years, I came across a lot of snobbery. It's ridiculous...I've seen so called "Broadway Award Winning Actors/Actresses" that seemingly ruined the experience yet the girl/guy with no name, barely any credits fascinated me to no ends. Why? I felt them...I didn't see line readings because this is what you do all day every day....I saw that character, vulnerable and waiting for anything to happen because that person with no name was present and real. I don't care if you made a history book of your character, if you can't make me feel who this person is, I'm out. So don't dispel a chance to keep pushing that door if it's something you want to do just because of the lack of credits. I didn't have credits walking in to do "Flyin' West" and the director looked right past it...it takes the right person on the other side to see you...truly see you, not your walk and talk nor dress but the essence of the character you've put work into. I will forever be grateful to Ms. Saundra McClain for being that director more interested in the work, not if you look as she imagined or wanted for the character but open to being changed in the room by interesting/true work. She changed my mind about someone who is surrounded and loved by theatre and yet doesn't allow the prejudices of that life to hinder her seeing talent when it walks into the room regardless of where you're at in your career. She is one of few but you must keep seeking people like her out and the only way to do that is to keep submitting until someone calls you in and then keep doing all of that until you walk into the right room/right time then unleash your creative beast!
I auditioned for "The Archer of Malis" but instead of an excerpt from the play, they asked us to come up with a monologue from that era. I had a couple of ideas but asked my girl, Cheri since she is a Shakespeare God! Her life has been nothing but the theatre and stuff any black woman would be eternally grateful to be a part of...she loves good work by anyone and we bonded over "Flyin' West." She told me to go with "Cassandra" from "The Trojan Women" and I trusted every word she said to me about the role. I worked for 3 days getting a 2 minute monologue together by picking the last piece of Cassandra's speech where she rips off her clothes. OH MY.... I wanted to read an unfamiliar role and give myself 3 days to conquer my understanding of the piece as well as come up with execution. I wanted to feel thrown in as I would if I were to book the role since I've never read "The Archer of Malis." I buckled in and memorized but while doing so, planned my attack on the script. 2 minutes to show what I could bring to a world I've never been in ( but have desperately wanted to be ) and I went for it from the depths of my art. I've never intentionally shown my body without my undergarments before but this piece literally had it's ripping in notes and because this role was so beautifully written, it only made sense as a bereft, going mad goddess. I chose a difficult place to come in on but I wanted the disheveled, mad to pieces and lost with understanding in my piece, it was all or nothing and I chose all. I went in and went mad...tragically so and I pulled at my dress until my soul barred. This is the great thing about going to this place with conviction first, you've pushed the role to the heavens, now they want to see you back off of it and if that isn't the easiest part...love it every time. "Can you stand still...be...simple..." - "Why, yes...yes I can..." and I did, simple...truthful...powerful as Allen Levin of Lifebook always puts it, he pushed me in both and now I relish it after going big. He asked how I felt...I told him great and how did he feel. He asked if I liked it and out of my love of the arts I told him "I like to work." I meant to work my art but that came out and the casting director spit up a little and choked on some laughter. I wasn't going to take it back nor back pedal because it was truthful as well. They thanked me, wished me luck with the nomination since I had to reschedule my time for a bit earlier to make the NAACP Theatre Awards Ceremony and I changed in the bathroom, peeking out for ladies that may need to use it while waiting. I saw another actor Jahmaul from "When Stars Align" so I knew this production was open to all types and that made my soul smile to the heavens for being able to audition for something so truly wanting to do something different. Dressed, remake-up and pulled it together for my trip not too far away. I thanked the casting again as I left and felt the world smiling back. I was called in for the callbacks a few days later, right when I thought I wasn't going to get one and although I was going to be out of town with family, it was decided I'd make the very first callback ever given in a Greek/Sophacle's play as the goddess Odysseus although I initially read for the merchant/captain. I spent my car trip memorizing my scene as well as any time I could steal away alone when no company was around. Even had fam bam reading lines with me after the festivities with everyone around laughing and cheering me on - thanks again Robert and because of all this...I BOOKED IT!!!! I have booked my first Greek play now, within the 2 years of me starting this theatre journey and will get to workshop it at the Getty Villa as well as doing it at the Lounge Theatre in Los Angeles. Wowsers...another dream getting in, all because I decided I was going to show that I could do theatre too - credits or no credits, I just wanted to be a part of the truly outstanding stuff and I wasn't going to take no as an answer. Don't give in to that "no" no matter how beat down you may feel...this business isn't always surrounded by talent but by constant, focused persistency...then you shine with your magical stuff!!! 
Made it to the NAACP Awards at the Nate Holden Theatre and was taken away by the step and repeat, cameras and people...much bigger deal than I had thought. I slipped away to the bathroom to gather my breathe since I was the first it seemed and when I kicked myself out of the restroom I went to find my cast mates. We all gathered to chat, walk the step & repeat and as they hung out, I slipped into the feasting area to eat something to calm my nerves and drink some champagne to celebrate the fact I was there. The rest of the cast joined me eventually as I ate alone for a moment soaking up the thoughts of how I made it to this point. Never if I had listened to the negativity of people around theatre or about theatre, I understood I could do it if I just tried and kept trying. I'm forever grateful for having talks to Cheri about her only entertainment involvement being on stage and I knew I wanted a piece of that goodness. "Flyin' West..." my first major play on a major stage that got me my equity card and now nominated for "Best Ensemble." Crazy right?!?! I couldn't wait to put nominated for "Best Ensemble" on my resume next to that credit, just being there made me realize how far I had come and how most work ever so diligently to get right to where I am. I've officially done 4 more productions after that within the past 2 years as well, then some film/web things to keep me busy so I will keep forward on this. Sitting in the auditorium, watching the process and finally seeing our category come up and knowing there was no way to beat out the bigger productions in our category but hearing "Flyin' West" as the winner! HOLY MOLY...did I just hear correctly, couldn't possibly be...we move slowly to the stage and the flush of what just happened washes over us as I stand in a daze watching Cheri give our speech. We walk off stage confused as to whether that just really happened...it did...it really did...we won "Best Ensemble" - wahoooooo! 
These past few months have just been celebrating the choices of my body of art and as it comes around, I'm enjoying all the work I put in...the roles I submitted for so I could get a mixed bag of characters under my skill set, small, yes..but mine. From the sniper in "The Package" making it's premiere, to winning the NAACP's award for being a pioneer woman, as well as being able to hang with Sally Field, Michael Showalter and another beautifully, tall, naturally, big hair actress Kate Comer whilst being a rude runner! Crazy, dazy month but something to make me realize that the work I put in the past 2 years are starting to come around and that is what we wait for as artists. Sometimes things don't and that's the side that hurts because I did it for years ( 2 years is the focus recently but I've been SAG since 1997 - getting real by getting an agent around 2000 & then quitting for over 8 years ), but when they do come around, it's a week to week stomping of letting you know why you do what you do. Hang on to that feeling, understand why you're here and what story you want to be a part of and keep after that, even when being told "No," "You're not right," "Your choices didn't work," etc., etc., etc. It takes a few people to really see the diamond in the rough that you are but you got to keep shining brightly so others in your tribe can notice your unique glow. Step and repeats, red carpets and under the bold lights is where you all belong, claim that in your work and let them keep seeing you determined with your insight of the art you want to be a part of. Don't stop dreaming...don't ever stop believing and my god, please have fun along the way!!!! 
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