Taking Matters in Your Own Hands: Self-Producing and its Benefits for Playwrights

The Original Cast of  The Re-Programming of Jeremy rehearsing

Greetings everyone, and welcome to Theater is a Sport.  Yesterday, I talked about writing a play with a message, and how and why I wrote my play The Re-Programming of Jeremy.  If you would like to read that post before reading this one, you can click HERE.  Today, is kind of a Part 2 about the life of a play of mine that means so much to me, and still remains unpublished.

So, to pick up:  I had written the first draft of Jeremy, and rather quickly.  I let a few special people read it, and then sent it to an editor of mine to see about publication.  Yes, I know that might seem strange--- in the professional theater, writers always seek productions long before publication.  I must confess, though, that, as a writer for the amateur market mostly (schools and community theater), most of my plays are published before there is ever a production of them.  It's just the nature of my little slice of the business.

In any case, the editor didn't want to publish it.  While he admitted it was a good play, he thought the subject matter a bit too dark, and way too controversial for the school market.  I disagreed, and still do--- gay teen suicide is something that happens. Bullying is something that happens. Misguided religious zealotry is something that happens.  And plays can be a great way to open up discussion about all of these matters.

I did have some doubts, though, not about the subject matter, but the play itself.  Did the structure work?  Would this series of monologues actually play, or would it drag?  And really, with questions such as these, there's only one way to find the answer.  You have to see it in production.

So I decided to produce the play myself.  Something I had never done before.  And, of course, I had no start up capital, and no real idea on how to go about it, but, what the heck?  I had to see the show on its feet, and do my best to get it in front of an audience.

My first step was to create a little production company, which was really a "Bobby Keniston Doing Business As" company.  I went to the Town Office and filled out the paperwork, so I could open a bank account for my "business".  I opened it with $25, the minimum amount out of my own pocket. And then I got to work.

I figured, since I had no money to pay anyone, I would direct the play myself.  I am blessed to have a great number of actor friends I have met over the years with my experiences in community theater, and I asked people to read the script and to be involved with the show.  I was elated that so many said yes.  The original cast was Alyson Saunders, Michael Pullen, Hannah Weston, Sue Burke, Lucas Bret Boffin, and Raelene Keniston (my mom).  I had difficulty finding someone to play the role of Jeremy's father, so, I wound up playing the part, because time was ticking away.

The theater I grew up at, which was literally my summer home all through my youth, and now, my adult years, is a beautiful, historic place called Lakewood Theater.  (You should CLICK HERE to learn more about them, after you read this post).   The general manager is Jeffrey Quinn, who has watched me grow up, and is a dear friend of mine.  Even still, I was nervous to approach him with a proposition.  You have to understand, one of the most expensive parts of mounting your own production can be rental fees for a stage or space.  And Lakewood Theater, which was designed way back in the day to be a Broadway style venue in Maine, would normally cost quite a bit of money to rent.  Much smaller venues, even in Maine, can charge up to $500 a night.  So, I was nervous about making my pitch to Jeff, which was basically, "Hey, Jeff, after Lakewood's last show of the season, can I use the space before you close up for the winter?  I'll split the door with you, 50/50."  He told me yes immediately.  I will always be grateful to him for that.

It helped tremendously that the play was simple to stage--- all we had to do was represent seven different spaces with a piece of furniture and a few props.  At the last minute, a cast member got a friend to run the spotlight for us, and we were good to go.

Though I had never done it before, I jumped into marketing.  I emailed someone I knew from the Morning Sentinel, a newspaper out of Central Maine, and he got me in touch with a reporter who came to one of our rehearsals and talked to us and took pictures (the photo above).  I expected a little story in a sidebar somewhere, and would have been happy with that, but, to my surprise, the story of my play was on the front page, the picture above the fold, with the headline:  "A Play For Our Times at Lakewood Theater".  Above the fold!  My cast and I couldn't believe it.  (I could believe a lot of the negative comments on the online article's page, though--- people writing in that the play was a "gay fluff piece", and that bullying wasn't really a problem.  I expected that.)

As with most low-no budget theater, the cast did far more than was expected of them, including securing their own costumes and many  of the props.  It is not hyperbole to say that each one of those wonderful people owned that first production just as much as I did.  It belonged to them, because they came to it with such love and belief in the story (and belief in me), and they will always be some of my favorite people in the world because of it.  I count them all as my friends, and something even more, something that can only happen when a group of people create something together.

During the rehearsal process, I decided that we waited too long to see Jeremy, the title character. He had one big monologue near the end.  I came up with the idea to have him almost "haunt" some of the other characters speeches, and even say lines with them.  I found this to have a poignant effect, and it got the wheels turning for a re-write.

We performed at Lakewood Theater September 30th-October 1st, 2011.  We had a good turnout, which included a Catholic youth group, and members from Equality, ME.  As advertised, after each performance, there was a discussion between cast and crew and audience, which was magical.  We talked about the issues of bullying, tolerance, acceptance,  The audience would ask questions and I would try to answer them as best as I could.  I was, once again, very impressed with my cast and how eloquently they answered questions directed at them, particularly the seventeen year old boy who played Jeremy.

After the success of those two shows at Lakewood, I brought Jeremy to my hometown theater, Center Theatre, in November of that same year, with most of the same cast.  Hannah was unable to reprise her role, but another excellent actress stepped in and took the part, by the name of Marisa Murray. Marisa immediately gelled with the cast, and her own take on the role, which, while different from Hannah's, was equally effective.

So...

I had performed the play four times, and had some ideas.  I let a few more people read the script.  A good playwright friend of mine named Bradley Hayward (you should check him out by CLICKING HERE) read it, and said he liked it a lot, but was wondering if there were a way to make Jeremy more active.  I agreed.

I wrote subsequent drafts, and started the play with Jeremy, talking directly to the audience. This improved the play's structure as well.  Now, we had a Jeremy who WANTED something.  He wanted to know who he was, he wanted to hear his story through others' mouths, so that he could put it all to rest.  This made a big difference.

This revised draft sat on a shelf for a while, until I was contacted by David Valdes of St. Paul's School in New Hampshire, who wanted to read the script.  He had somehow heard of the play through the different articles written about it in Maine newspapers. He read the script, asked if he could produce it with his high school group, and I had the pleasure of travelling down to see it.  St. Paul's was very kind to me, providing me a lovely guest room, and the opportunity to talk to some amazing students who worked really hard in bringing my play to life.

Since then, there has been interest in The Re-Programming of Jeremy in other places and media. Some wonderful folks in Delaware are trying to raise money to make an independent feature film of it.  I adapted the play into a screenplay, and found the opportunity to address other concerns about the piece.  I had received criticism that the play was against religion because of the extreme character of Rev. Becky Martin.  I never intended this, of course, as I actually identify myself as a Christian.  So I added the part of Pastor Tom, who was only mentioned in the original script, as a more compassionate view of Christianity, and, I added the character of the Vice Principal at Jeremy's high school, again, only referred to in the original, to take some of the heat off of Rev. Becky, by being someone who truly didn't care for Jeremy.  I incorporated a great deal of these changes into the stage play as well.

Right now, I feel, after five years and several rewrites, that The Re-Programming of Jeremy is in great shape, and, it remains a play that I am very proud of.  Had I never produced it myself, I may have never been able to make it the best play that it could be.  This is why I encourage playwrights who are frustrated to find ways to produce their own work.  It teaches you so much, and, you get to see first hand what works and what could be stronger in your script.  It also gives you the joy of seeing your creation come to fruition, and you can't really put a dollar sign on that.

So, while it's true that the play has never been published, The Re-Programming of Jeremy has taken on its own life, and is a play that has effected audiences.  If you're a producer for community theater or school drama, and would be interested in reading the script, feel free to drop me a line at theater.is.a.sport@gmail.com.  The licensing fees are negotiable, as it is a play that I would love to see reach more an more audiences.

Thanks for taking the time to read my post.  Have a great day.

Community Theater Directors: How to Avoid Becoming Overwhelmed at Rehearsals

Me, Bobby Keniston, trying to figure something out in "Silent Laughter" at Lakewood Theater

Greetings everyone, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be your host at this blog, where I write down my thoughts on theater, most often for the school and community theater markets, but, sometimes, just theater in general.

Today, I have some thoughts and advice for any community theater directors out there who are feeling stressed out and overwhelmed.  First of all, this is natural.  You are not alone.  In fact, I am writing about this subject today because I am currently directing a production for a local community theater, and I am feeling a little stressed out and overwhelmed.  These thoughts are a way of helping me psych myself up, too.

So, let's see...

TIP #1:  PAY CLOSE ATTENTION WHEN CASTING
While this is true for all productions, it is especially true for school and community theater.  A good number of times, us directors have to make concessions and compromises when casting, or, if we are directing a really large cast play, we may just have to take everyone who auditions.  This happens sometimes.  But there are important things to take into consideration, aside from person's talent.  Do they have a great number of conflicts that will make them constantly late to or absent from rehearsals?  Believe me, you want to know this right away.  Always have a tentative rehearsal schedule for auditions, and ask for conflicts on their audition forms.
What's their personality like?  Do they come off as arrogant or diva-esque?  This is important, although, you can't always judge a person in that way from a short audition.  However, if a fellow director tells you that you should be careful with a certain person because they were a nightmare in a play they directed, you might want to listen to them.  Nothing makes rehearsals more frustrating than a person with a bad attitude.  Likewise, if you're directing a play with children or teens, you might want to inquire to others about any behavior issues or anything like that.
Trust me, I would rather cast a less talented person who works hard and has a great attitude, than a good actor who is going to make my life as a director difficult.  This might not be true for me for professional endeavors, but at the community theater and school levels, I think it is a good code to go by.

TIP #2  GO INTO EACH REHEARSAL WITH A PLAN
Have an idea of what you think the overall shape of the characters on stage will be.  A foundation of blocking when you go into it is very important.  Now, this might have to be adjusted or outright changed when you see it on it's feet, but it's still wise to have a plan.

TIP #3  KNOW THE TEXT, KNOW THE TEXT, KNOW THE TEXT!
You should know the script, the way it flows, the characters in each scene, the technical and prop concerns for each scene.  Again, some of these things may be added to or removed during the rehearsal process, but you should go in with the a good understanding of what you'll need, and an impeccable understanding of the story, and how it is told.  Have an aesthetic vision, and make sure the cast and crew know what it is as soon as possible!

TIP #4  YOU'RE IN CHARGE, SO BE IN CHARGE
This isn't an episode of "Who's the Boss?," and you're not Tony Danza or Judith Light.  You're the director--- you're the boss.  Does this mean you should be an unflinching, draconian automaton?  Of course not.  You should encourage some collaboration, and, yes, actors should be allowed some ownership of your characters.  But a production needs a leader, a number one person, and you are it.  If actors in the play pipe up when you're giving notes, make it clear kindly, but firmly and without question, that this decision is yours.  If they want to talk to you at another time, that is fine, but not when you are giving direction, and not in front of the rest of the cast.  This goes for parents, volunteers, and pretty much anybody.  You will never get anything done, and the cast will feel like they can direct themselves, if you open up every bit of direction to a town meeting.

TIP #5:  HAVE A GOAL TO ACCOMPLISH FOR EACH REHEARSAL.
You may not accomplish them all, but that's okay.  For rehearsals that you don't accomplish your daily goal, say, blocking pages 12-18, make notes as to why the work couldn't be finished in the allotted time, and minimize those reasons, if possible, for future rehearsals.

TIP #6:  ALWAYS HAVE AN ANSWER, EVEN IF THAT ANSWER IS "I'M CONSIDERING OPTIONS TO TRY"
Directors are asked a lot of questions.  That's what being the leader gets you.  Actors, designers, crew members--- they all have questions, and many of them good ones.  Always give them an answer.  It's good for your confidence, and it inspires confidence in others.  And instead of having an answer be "I don't know", say "I'm considering different options to try out."  Doesn't that feel good to say?  Warning:  don't use that answer too much, though.

TIP #7 BREATHE AND TAKE A BREAK
There's no shame in reaching a saturation point at a rehearsal.  It happens.  If you get to a point where you know you're no longer being productive for yourself or the cast, take a break.  Give them five or ten minutes, to give yourself five or ten minutes.  Breathe.  Ask everyone to refrain from asking you questions during the break.  Separate yourself from the group if need be and allow yourself to think without all those expectant eyes looking at you, waiting for direction.  You're only human.

TIP #8  FIND WAYS TO MAKE DIRECTION A TEACHABLE MOMENT
If you're directing for community theater and schools, you will most likely have a wide variety of skill sets in your cast, some very high, some very inexperienced.  It is okay to phrase your direction almost as lesson with young people and inexperienced adults.  Don't condescend, of course.  But this isn't Broadway... sometimes you need to teach.  Sometimes a person's first play is like their Intro to Theater 101.  Don't be afraid to be their professor.

TIP #9  MAKE PEACE WITH HAVING TO BE FLEXIBLE
You're going to have to do this.  Something like this is bound to happen:  you have planned to rehearse Jimbo's big scene, and, at the last minute, you get a call from Jimbo that he's not going to be there.  You have to quickly find a way to make rehearsal valuable for you and for those cast members called.  Take five minutes and figure out what other scene you can work on with the people who are there, with the least amount of fuss.

TIP #10  YOU'RE GOING TO GET STRESSED OUT AND OVERWHELMED
"Heavy is the head that wears the crown" and all that.  It's going to happen.  It just is.  Welcome it, feel it, and keep moving.  Remember you do this because you love it.  And, if you find you don't actually love it, don't do it again.

I hope you find these thoughts valuable.  I would love to hear thoughts from others as well, in the comments below.  I'll take all the help I can get!

Until next time...

NOT Your Typical LEADING MAN (The Joys of Being a Character Actor)

Your Truly and Kristen Seavey from Lakewood Theater's production of "The Producers".  Photo by Hannah Weston

Welcome to Theater is a Sport.  My name is Bobby Keniston, and this is my little home on the internet to write about theater.

I'm short.  And, often, I'm a little pudgy, though, for the right part, I try to lose weight. Unfortunately, outside of a pair of elevator shoes that give me about two inches of added height, I'm pretty much stuck being short. In fact, one time, I was walking down the street, minding my own business, when a car drove by, and young man, maybe sixteen or seventeen, stuck his head out of the car window (thankfully, he wasn't driving), and yelled, "YOU'RE SHORT!!!!"   I confess, this action left me a little rattled, and I didn't have time to think of any kind of comeback as the car sped away.  I could have yelled out, "BY MOST STANDARDS, YOU'RE RIGHT!," but I didn't.  In truth, I've  made peace with my height, and, while it offers the occasional challenges at the grocery store, I don't look at it as a negative thing.

What it does mean, however, is that I'm not meant to play your typical leading man, and I don't think anyone would really cast me as such.  Once upon a time, this might have bothered me.  Now, however, I am grateful.

I don't want to be the typical leading man.

It's true that one's physical attributes can "type" them as an actor--- the funny "fat" guy, the "ditzy" blond, the "hunky" ladies man, the "thug", the "sidekick", the "plain" friend... there are dozens more, of course.  And yes, this can be very frustrating.  But we must remember, that the "leading man" and "leading lady" types or also just that--- types.  And perhaps these actors get tired of being pigeonholed into those roles as well.  In fact, I would guess from time to time they do.

Why?

Simple:  character roles are often more juicy and more fun.

This isn't to suggest that I haven't played my share of "lead" roles.  Theater has been good to me.  I've managed to play some dream parts like Leo Bloom in "The Producers" (pictured above), Lt. Cioffi in "Curtains", Prince Dauntless in "Once Upon a Mattress", Seymour in "Little Shop of Horrors", and tons of fun parts in non-musicals as well.

The one thing the leading parts I'm cast to play all have in common?  They are not your typical leading man "types".  They are character roles.  They certainly have some leading man responsibilities, but they are not the typical leading man.

Now, I would never suggest that "typical" leading man parts are without there share of fun and interesting discoveries.  Of course they are.  I just wouldn't know how to find them.

A few years back now, I was cast in a production of a musical called "Sugar".  For those who don't know, it's a musical adaptation of the excellent Billy Wilder film, "Some Like it Hot".  I was originally cast in the more sidekick type role that Jack Lemmon made famous in the film, a role that was right in my wheelhouse.  Unfortunately, the actor originally cast in the Tony Curtis role, the more "leading man type," had to drop out of the production.  The director slid me over into that role and cast someone to take the Jack Lemmon role.

Now, this is a musical about two guys dressing up like women and joining an all women band to escape detection from gangsters, after witnessing a hit.  So, two guys in dresses, you might say, wouldn't lend itself to your typical "leading man" stuff.  And, yes, I was always more comfortable in the scenes when I was wearing a dress.  The scenes I had difficulty with, were the scenes in which my character is out of his dress, in a suit, wooing the Marilyn Monroe-like character of Sugar.  Being the charming, confident fellow, you know, the type that always gets the girl.

I must confess, in those scenes, I felt stiff and phony, which isn't a good way for an actor to feel.  Funny enough, I had even played off of the leading lady before... we were opposite each other in "The Producers"!   But, in that particular play, well, her character had fallen in love with the neurotic, naive character I was playing.  She came after me.  In "Sugar", I had to woo her.

It was one of the few times I felt "short" on stage.  And pudgy.  And just not right for the part.  I didn't have a way in to the part.  I didn't know what made a guy like this tick.  I didn't know how to play a "personality".  And, consequently, I was stuck in my head (never a good place for an actor), and felt self-conscious.

I must confess, the young man who took over the Jack Lemmon role got huge laughs, and deservedly so.  I was proud of him.  Of course, I couldn't help but notice how much prettier of a woman he was than me.

So what's the point of this story?  Don't worry about being cast as the "lead" role.  Don't worry about "types".  Go after parts that are juicy, and that you know you can put an interesting spin on.  Yes, it's good to go outside of your comfort zone and try new things, but it's also good to know what kind of roles you might not be best suited for (it helps save a great deal of disappointment to have that self awareness).  I'll never play Paul Bunyon or a retired NBA player wanting one more shot at glory.  But that's okay.

I've always been more of a character.

Thanks for reading my thoughts today.  Please feel free to comment below, and follow me.

Until next time....

Why Don't They Want Me?: Bobby Keniston Talks About the Pain of Rejection

Yes, Rejection is Heartbreaking

Greetings to all of you out there, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be communicating my thoughts to you through your computer screen.  If you like, imagine that we're sitting down over a cup of coffee or chicken broth, just shooting the breeze about theater.  Why not?  We're all personable people here, right?

Tonight I'm going to talk about rejection, particularly in terms of student and community theater, for actors, writers, and anybody who has ever been rejected.

Rejection sucks.  There you go.  I won't sugar coat it.  It's not fun.  People, by and large, will prefer acceptance over rejection any day of the week.  I think it has something to do with the whole "being a part of the human race" thing. 

Any time you audition for a school or community theater production, or, any time you submit a script, or portfolio of your designs or any other such creative endeavor, you are taking the risk of being turned down.  It's as simple as that.  Perhaps this is a part of what Fehrlingetti is talking about with "constantly risking absurdity". 

Make no mistake--- all creative endeavors are a risk, and you are going to win some and you are going to lose some (pardon the cliche, but it's true).  Even I, a veteran of over sixty plays, do not always get the parts that I want. 

There is a very small percentage of the human race who lets rejection roll off their back without too much thought about it, and are eager to go out and try again.  There is a much larger percentage of the population who SAYS that rejection doesn't bother them, and then go home and cry, cuss and wonder why the whole damn world is against them.  I am part of the latter group myself.  And then, on the other end, there is another small percentage who, upon being rejected, tell the rejectors in no uncertain terms how ridiculously stupid they are, right to their faces, effectively lighting a match and burning a bridge. 

If you are in the same group that I am in, my advice is for you.

Okay, so you've decided to take the plunge and audition for a play or submit a play forpublication.  Congratulations!  Good for you!  It's a noble pursuit that can change your life.  You've already shown tremendous courage by making the decision to put yourself out there. 

So you've worked hard, given your best audition, or best callback, and now it's just a matter of waiting.  Try to relax.  It's not easy.  As Tom Petty said, "the waiting is the hardest part".  It's nice to know one way or another, but resist the temptation to contact the theater group before they contact you.  You don't want to bug people.  This goes for publishing houses as well (only, with them, once you wait the amount of time they specify in their submission guidelines, it is okay to drop them a friendly, albeit brief, line to inquire). 

Finally, you get the letter or e-mail from the director or casting people of your local community theater (or, of course, the cast list is posted at school).  You take a look, and the message starts out "We want to thank you so much for taking the time for auditioning.  Unfortunately, when casting a play..."  Or you scan the cast list two or three (or ten) times, and you do not find your name. 

PAIN.  CRUSHING.  PAIN. 

WHY DON'T THEY WANT ME?

It's tough with acting and writing, because they are so difficult to separate from YOU.  You the person.  For an actor, your body is your instrument.  It feels very personal, because, in effect, it is. 

Or maybe you didn't get the part you wanted.  You wanted the juicy lead, but only got a small part with 8 lines, and you know, just KNOW that you are better than that fathead who got the part (who, more likely than not, is actually a friend of yours, or, a well-established nemesis... both happen a lot at schools and community theaters). 

It's okay, in the privacy of your own home, to vent.  It's okay to cuss, cry, and say things like, "That stupid place doesn't appreciate me!  I give and I give, and they just throw me a bone every time!"  or "I'm too good for that place.  They don't even deserve me!  Their plays are all crap, anyway!"  You're a human being.  Don't beat yourself up for feeling your feelings.  Anger is a natural response to having your feelings hurt.  Truly.  I'm speaking physiologically.  In the brain, when your feelings are hurt, particularly with something you are very invested with, you chemically are geared to the part of the brain responsible for anger and jealousy, and grief.

So, again, feel your feelings. 

But do not wallow.  After a certain amount of time, and it varies from person to person, pick yourself up, look in the mirror, and give yourself a pep talk.  I do this a lot.  And remember that pain is a part of life.  Granted, not a pleasant one, but it is sometimes necessary for growth.

And remember, casting a play is based on the opinions of the person (or very few people) who are in charge of the production.  And, of course, there are always other factors beyond talent.  For example, school and community theater, females have it tougher than males, at least statistically speaking.  Women try out for theater more than men.  That's why a male who seems "less than talented" can wind up getting parts.  Directors need men.  Not fair, but it's how it is.  Then there's the matter of casting to make decent "stage pictures" and "stage families", and that is all stuff beyond your control, so don't take it to heart (I know, I know, it's easy for me to say).

Also--- there are some roles that a person just isn't right for.  I hate to admit it, because in my heart, I feel like I can play ANYTHING, and would like to play EVERYTHING.  But, I do consciously know that no director is going to cast me as the typical "leading man" type, tall dark and handsome.  I'm short.  I look like a sidekick.  And, though I would love to play the part before I shuffle off my mortal coil, not many casting folks are gonna consider me for Hamlet, unless I mount the production and cast myself.  It's not easy to come to peace with such truths, but it can be very important to do so. 

If you find that you are getting rejected far more than you are being accepted, it might behoove you to ask the group or drama teacher why.  Now, this doesn't mean approach them demandingly, saying, "Why the hell don't you ever give me a part?"  That would not bode well.  Instead, if you take it from a different angle, you might get some good advice.  "I really am interested in acting, and I want to keep growing and learning.  Do you have any tips for how I might audition better?"  Drama teachers will be happy to talk to you, of course, and a community theater director should be, too.  It's all about learning, remember that.

Unfortunately, this isn't the case for professional theater by and large, and it is not really the case for writers either.  Maybe a writer, if they submitted a play to their local community theater for consideration, could have a conversation about what works and what doesn't with the artistic director, but editors and the publishing houses are usually too swamped to give personal feedback.  However, if you find that your script keeps getting rejected, maybe you could have an old creative writing teacher, or a person involved with theater read it and offer suggestions on how you might tighten it up. 

Most of all, if theater is important to you (and it must be if you are constantly risking absurdity), then keep trying, keep growing, and keep finding ways to act or write.  You're a strong, resourceful person.  Put up your own show, go to open mics, play scenes in a classroom, take an acting class, shoot a video... whatever--- just DON'T GIVE UP. 

I guess what I'm saying is, the only rejection that is permanent is the rejection of self.  And you're too good for that. 

You are.  I mean it.  I may not know you personally, but I know that any human being is too good for that. 

So, until next time, keep the chin up, cuss and cry if you have to, but keep playing that sport I call theater.

This is Bobby Keiston saying good night.

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CHANGING YOUR LIFE: AUDITIONING FOR SCHOOL OR COMMUNITY THEATER (Part One)

I think the greatest joys I've experienced in my years of being a part of school and community theater are the times when I've been blessed to watch a person fall in love with performing onstage, particularly people who really didn't quite know what to expect when they showed up for auditions.  I am grateful I have seen this transformation from "layperson" to "theater person" quite often, and could site countless examples.  

Two of my favorites occured at Lakewood Theater in Madison, Maine.  Lakewood Theater was designed to be a "Broadway Theater" in the state of Maine, and was frequented by a long list of celebrities, and perhaps, one day, I shall have a long blog post about this beautiful place that served as my summer home growing up.  For over twenty years now, Lakewood has been the home to a community theater group called Curtain Up Enterprises.   The first example I will mention is about a man named Dan, who had never really been in a play.  He auditioned and was cast in a production of "All Shook Up" as a chorus member.  I was playing Dennis, the nebbish "sidekick" of the lead character.  As I got to know Dan throughout the process, I could see the transition being in this play was having on him.  Within a few summers, he was playing Sky Masterson in "Guys and Dolls", and several other leading man types.

The other young man is named James, who I had the pleasure of directing his first season at Lakewood in a production of "Jack the Ripper".  When I'm directing community theater, I like to treat it a bit like and Acting 101 class with character building exercises, improvisation, etc.  Indeed, James has thanked me several times, thanking me for giving him an acting class.  In return, I have had the pleasure of seeing him blossom into leading roles, and have watched him create some truly memorable characters.  He, like Dan, fell in love with it.

In short, community theater changed their lives.  The fellowship, the creativity, the permission to express yourself in a safe and nurturing environment can have a profound impact on people who have never really had that brand of freedom.  In short, no matter what your day job may be, you become an actor.  I know James in particular is always looking for his next acting "fix".

This is why I encourage everyone, truly, EVERYONE, to be involved with at least one school or community theater production in their lifetime.  It is true that not everyone is moved quite so profoundly as others, and, yes, some can just take it or leave it.  From my observation, however, those who can do that are in the minority.

So, now that I've explained why being a part of school and community theater is so important, I'm going to give you some tips about how to land a part, even if only a small one the first time out (remember, there are no small... okay, that's not true--- BUT, remember that even small parts are important and truly contribute to the success of the overall production). 

What makes me so qualified to give acting advice?  Well, I have been a director for several schools and community theater groups, I studied theater in college, and have been in over 45 stage productions in the last ten years or so.  I'm not saying I'm an expert, but I do know at least what I look for when I'm casting a play. 

 For lack of a better word, I will call the first important attribute ATTITUDE.  Having a good, open attitude is very important.  It's a fundamental character trait that lends itself to teambuilding and team work.  Also falling under attitude is the idea of BEING EASY TO WORK WITH.  I would rather have 10 moderately talented people with a positive attitude in my cast then 10 extraordinary actors who are terrible divas. 

Not every community theater holds auditions in the same way.  Some ask people to prepare monologues (as well as a song for musicals).  Many of the theaters I have worked with forego the monologues and go right to the "cold readings".  Cold readings are basically reading from the script.  Cold.  In this situation, if you are not familiar with the play, my advice is to scan what you can and make a CHOICE and go for it (of course, it never hurts to read the play you are auditioning for before the audition).  As a director, I am looking for actors who are not afraid to make choices.  I might not always agree with the choices they make, but diving in and being bold creates and impression. 

Don't be afraid of messing up during your cold reading.  Stumbling over a word or two is perfectly normal when you are a little nervous.  One of the best actors I've ever known can't cold read to save his life.  He needs to process it.  But when he does, watch out.

Do your best to speak clearly and loudly.  Community theater directors look for that.  In fact, making a choice, reading clearly and reading loudly is pretty much all a director can glean from a cold reading, except, perhaps, for a certain spark that comes along now and then. 

If your community theater has callback auditions, this is when the director will put you together with other people, try out different casting combinations, and see who seems to work well with who.  Sometimes, casting even involves things beyond your control--- creating stage pictures with people of different looks and body types, creating stage families, etc.  This is not to say that people are cast only because of looks--- far from it.  I mention it only because directors do try to put together stage pictures that look natural and honest.

I would like to go through my three "Please Don't Do This" for school and community theater auditions.  They drive me crazy as a director:

1.  Don't come to auditions in costume.  Maybe some directors disagree with me, but I can't stand it.  If I'm casting "Dracula" and someone shows up wearing a cape, it bugs me.  It's fine if you want to dress somewhat reminiscent of the character you are auditioning for, but costumes for me (and several other people I know) are no-nos. 

2.  Don't correct other auditioners during a cold read.  If they mispronounce the word, let it go.  Trust that the director knows the correct pronounciation, but, perhaps does not want to embarrass the person auditioning. 

3.  If you only want to play one certain part, do not say that you are willing to take any part you are given.  Be honest.  If I take you at your word, and then you don't accept the part I've offered, I have to scramble to replace you.  Does not leave a postive impression if you ever want to audition for me again. 

Once you are cast in a part, then the true joys of building a character and putting on a play begins.  So remember, just be cool, speak well, be honest, flexible and do your best, and you'll be on the road to becoming a community or school theater thespian in no time.  And, by doing so, you are well on your way to changing your life.

There is much more to be said on this subject, so think of tomorrow as a part 2.

Thanks for reading this edition of  Theater is a Sport.  If you have any questions or comments, feel free to e-mail me at theater.is.a.sport@gmail.com.  If you would like to become a fan of Theater is a Sport on facebook, follow this link: https://www.facebook.com/#!/TheaterIsASport

If you would like to learn more about me as a playwright, please follow this link:  https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601

Tomorrow, I will be following up on today's advice with some "Theater Stories" about auditions from my own experience.  Until then, thanks again, and please remember:  theater is a sport.